Planes of Space & the Body - Elements of Dance in theory & practice скачать в хорошем качестве

Planes of Space & the Body - Elements of Dance in theory & practice

“To understand the concepts of balance and counterbalance through posture and placement, it is helpful to identify (1) each of the three body planes, which link two of the three dimensions of height, width, and depth, (2) the center of gravity, (3) the central vertical axis, and (4) the base of support.” Rory Foster, Ballet Pedagogy: The Art of Teaching Learning the spatial language of the body, the dimensions and planes, opens doors to understanding functional anatomy, kinesiology, medicine, biology, behavioral psychology, dance, yoga, and athletic techniques of dynamic alignment and movement, movement analysis, and choreography. Peggy Hackney provides a nice succinct summary of the Laban Movement Analysis definition of the dimensions and planes of space in her book, Making Connections: “Our world has three cardinal dimensions. Each dimension contains two directions which are opposite poles: Vertical--Up/Down; Sagittal--Forward/Backward; Horizontal--Left/Right or sideward open/sideward closed...Movement in the three cardinal planes is movement which invests in two spatial pulls at the same time; for instance up and left in the vertical plane. Each plane is like a flat cycle, or rectangle… Vertical Plane--combines Up/Down and Right/Left; Sagittal Plane--combines Forward/Backward and Up/Down; Horizontal Plane--combines Right/Left and Forward/Backward.” “The point at which all three planes (coronal, sagittal, and horizontal) cross each other is the center of gravity (COG)--the imaginary point where all parts of the body balance each other. This is located just below the navel at the body’s midline and anterior to the second sacral vertebra.” - Ballet Pedagogy Ballet Pedagogy helps put all of these concepts together in practice: “Correct ballet posture and placement also require elongation through the legs and torso by means of lengthening and stretching. This is universally known and often misunderstood as pull-up. Elongating the body raises the center of gravity. By raising it, we increase the distance from our center of gravity and our base of support on one or both feet. It is done by lengthening and stretching the spinal column, thereby elongating the spine’s natural curves. This causes diminished stability, but enables greater mobility, allowing the dancer to move with speed, lightness, and grace. The diminished stability factor is overcome by years of muscular development and control while refining technique. Tho oppositional forces should be felt with elongation, raising the center of gravity. There should be a sensation of pushing downward through the legs from the hip joints while lengthening and pulling up from the waistline. Upward elongation or the torso from the waist should be felt primarily in the spine..head, neck, shoulders, and arms should remain free of any tension. Maintaining this stance requires core abdominal strength as well as control in the upper back and between the shoulder blades.” In the future, I’ll cover related topics about the Crystalline structure of the performance space in ballet and dance, how different schools of classical ballet classify the walls and corners of the stage differently, the way in which Laban Movement Analysis identifies affinities between moving in the spatial dimensions with qualities and moods, all of this as choreographic inspiration, and more! ablythecoach.com DISCLAIMER: A Blythe Coach recommends that you consult your physician regarding the applicability of any recommendations and follow all safety instructions before beginning any exercise program. When participating in any exercise or exercise program, there is the possibility of physical injury. If you engage in this exercise or exercise program, you agree that you do so at your own risk, are voluntarily participating in these activities, assume all risk of injury to yourself.