体态律动学 / 音乐与动作 - Rhythmics / Music and Movement (Chinese-Mandarin version) скачать в хорошем качестве

体态律动学 / 音乐与动作 - Rhythmics / Music and Movement (Chinese-Mandarin version)

Eurhythmics / Music and Movement A project initiated by teachers of the University of Music and Drama Hamburg Footnote see below English Version:    • Rhythmics / Music and Movement   German Version:    • Rhythmik / Musik und Bewegung   Polish Version:    • Rytmika / Muzyka i Ruch   Portuguese Version:    • Rítmica / Música e Movimento   Russian Version:    • Ритмика / Музыка и движение   Spanish Version:    • Rítmica / Música y Movimiento   Projct leaders 2020/21: Prof. Karin Holzwarth und Alexander Riedmüller Project leaders 2021/22: Prof. Frauke Haase, Prof. Elisabeth Pelz, Alexander Riedmüller Project leaders since 2022: Prof. Elisabeth Pelz und Alexander Riedmüller Project coordination HOOU@HfMT : Goran Lazarević 2D-Animation: Valya Paneva Video post production: Tam Thi Pham Sound post production: Víctor Gutiérrez Cuiza Speaker & Translation: Yuanyuan Cui Footnote to the video: For more on Laban, Wigman, and Reinhardt, see Lee (2003); on Reinhardt, see Rogers (1966): Wigman was a student of Dalcroze and worked closely with Laban and his partner Suzanne Perrottet, who was also a student of Dalcroze, at the artists' colony Monte Verità in Ascona, Switzerland. Even though the work of Laban and Wigman emphasized freeing dance from musical constraints and focusing on inner rhythm — thus moving away from Dalcroze’s concept — his influence must still be taken into account (cf. Lee, 2003). Max Reinhardt also brought Gertrud Gottschalk Wegmann, another student of Dalcroze, to the drama school of the Deutsches Theater in Berlin, after he — like Laban — had had the opportunity to attend demonstrations at the Festspielhaus in Hellerau. The Günther School, founded in the 1920s by Dorothee Günther and Carl Orff, from which the Orff Schulwerk later emerged, belongs to a second generation. Günther — who was primarily responsible for the movement aspects of the training — had engaged with the methods of both Laban and Dalcroze (Kugler, 2020). Undoubtedly, influences from Dalcroze’s contemporaries and their successors can still be found in today’s subject "Rhythmics / Music and Movement" (cf. e.g., Hauser-Dellefant, 2016, p. 23). Thus, in many cases, one can speak of mutually interdependent influences — although in-depth research on this topic is still lacking. References: Hauser-Dellefant, A. (2016). Vom Ursprung der Musikalität und ihrer Bedeutung für die Pädagogik, in: Hauser-Dellefant, A. & Witoszynszkyj, E. (eds.) (2016). Leben ist Bewegung ist Musik. Entwicklungen und Konzepte der Wiener Rhythmik an der Universität für Musik und darstellende Kunst Wien. Wiesbaden: Reichert, pp. 20-45. Kugler, M. (2020). Günther-Schule, in: Online-Lexikon der Orff-Schulwerk Gesellschaft Deutschland e.V. https://orff-schulwerk.de/lexikon/gue... Lee, J. W. (2003). Dalcroze by any other name: Eurhythmics in early modern theatre and dance, doctoral thesis, Texas Tech University. https://ttu-ir.tdl.org/handle/2346/15905 Rogers, C. M. (1966). The Influence of Dalcroze Eurhythmics in the Contemporary Theatre. LSU Historical Thesis and Dissertations. https://digitalcommons.lsu.edu/cgi/vi... Visit us at http://hoou.de/projects/eurhythmics-m... Kindly supported by MMKH CC BY SA Hamburg, 2020