By Liz Lerman
The original occupation of choreographer Liz Lerman has taken her from theater levels to shipyards, and from synagogues to technological know-how labs. during this wide-ranging selection of essays and articles, she displays on her life-long exploration of dance as a motor vehicle for human perception and knowing of the area round us. Lerman has been defined via the Washington submit as "the resource of an epochal revolution within the scope and reasons of dance art." the following, she combines extensive outlooks on tradition and society with useful functions and available tales. Her expansive scope encompasses the craft, constitution, and idea that carry theatrical works to existence in addition to the functions of artwork in fields as varied as religion, getting older, particle physics, and human rights legislations. delivering readers a steady manifesto describing tools that convey a horizontal concentration to endure on a hierarchical international, this is often definitely the right ebook for somebody desirous about the potential function for artwork in politics, technology, neighborhood, motherhood, and the media.To discover Lerman's dances approximately technology and instruments for embodied studying please stopover at her technology Choreography web site: http://sciencechoreography.wesleyan.edu/. the positioning is a precious source for lecturers from center tuition throughout the college point.
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Additional info for Hiking the Horizontal: Field Notes from a Choreographer
I had no tissue with me, and I was in seated in the middle of the row. There was no way for me to walk out easily. The dance continued, and the nosebleed stopped. But my hand was caked in blood. As I watched, I slowly licked the blood away. I felt I was inside a ritual of grief and sorrow, of liberation and decision making. I knew I couldn’t accept being in this company. I knew that I was looking for something elsesomething bigger for dance, for the dancers, for the art form. Something that mattered.
I tell them to put the teacups on their laps, take the gestures from what they made, and see how fast they can do them. The teacups rattle like crazy, and one drops to the floor. I leave them to problem solve. Later they show us a trio that contains one extraordinary event. They make the teacups rattle as they hold them, and suddenly all of Los Alamos and what it meant exists in this one image. I am so grateful. The idea of tea has now taken hold. After rehearsal we experiment with different ways of staging it, with different dancers taking charge (one group even serves tea and gives massages at the same time).
I loved that my body knew what to do even when I was in such chaos. But when I step into the studio to find movement, develop physical approaches, or just let loose, I almost always have to make myself move away from the classical choices my body makes first. I remember feeling particularly lousy when I was in high school that I had spent so much time in dance class but couldn’t do the popular forms of the day. All I could do was my ballet. It drove me crazy, because whenever I was on the dance floor, people watched expecting me to be able to do anything.
Hiking the Horizontal: Field Notes from a Choreographer by Liz Lerman