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RCTP index
         
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Introduction
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Teaching
 
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Floor Work pt 1
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Floor Work pt 2
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Standing Work pt 1
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Standing Work pt 2
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Travelling Work
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Elements
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Interviews
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Credits
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Standing/Centre Work
'To stand is a verb – if you forget how to stand you will fall down.' (Cohan)
Parallel to Turn Out – Actively standing in parallel lifts the centre from its low gravitational level to a distance away from the floor – challenging the legs to be secure and grounded in their now vertical extension. Focus is directed to the balanced alignment of the bones and the lifting out of the legs by using the two- way tension between two opposing points. Equally applicable to the lifting of the arm(s), 'the arm must always lift from the back, as the arm goes up the clavicle bone goes down. Sensation of the hand weighted toward the floor before lifting.' (Cohan)
The turn out emanates from the body, reinforcing the correct sequential order from the inside (closest to the core) to the outside (the shape/form.)
 
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Turn out with Double Arms – a developmental sequence that further challenges the body to coordinate varying timings of the limbs without negatively affecting the core quality of the movement.  
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Parallel Brushes – a sequence of exercises that strips away attitude and reminds the dancer of being 'present …open and alert' (Cohan.) In its complex simplicity the parallel brush is fundamental to enhancing control of all the considered elements of, Centering, Breathing, Gravity, Balance, Posture, Gesture, Rhythm and Moving In Space (the last element worked as an internal image in preparation for the actual shift of weight – and 'state of alertness in the body'.) Through clear directed execution the leg muscles are shaped and sculpted. From personal experience this is an exercise that if you openly observe your mirror image and sense the movement then its execution gives you continual feedback with regards to your individual body.  
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Parallel Pliés – Pliés whether in parallel or turned out are among the most important movement preparation and training exercises that a dance artist will do every day of their lives. The movement requires 'total concentration' in order to unleash their power.  
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Reverse Stretching of the Arms – a difficult and strongly physical exercise that specifically focuses attention to the how and what mechanisms are involved to acquire the stretch and shape the muscles.  
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Plié - Relevé with arms – Physically engages the piston action of the legs with the reverse stretching of the arms, challenging the mind to think of many different and diverse actions at the same time. It strengthens the body through the use of pressure, gravity and lift of the core and is a preparatory sequence for later explosive action (elevation) and safe landing. The sequence brings the attention of the dancer to, 'the junction between the gravitational pull of the earth and the will to stay, that's what you are, you are that desire and that's what gives you the space and if you did not want to be there you would still be on all fours.' (Cohan)
High Brushes – A wilful 'all or nothing' movement that uses the dynamic thrust of extension with a controlled body alignment.
 
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Breathing Pliésunderstanding Bob's instruction with regards the breathing pliés is ' Key' to utilising the physical breath of the body to initiate sensation and movement.  
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