词条 | Gaga (dance vocabulary) |
释义 |
Gaga students improvise their movements based on somatic experience and imagery described by the teacher, which provides a framework that promotes unconventional movement.[3] The imagery is intended to guide the performer's movement expressivity by focusing attention on specific body regions. For example, "Luna", "Lena", "Biba", "Tama" and many more words are used to experiment in a performers body while dancing.[4] Mirrors are avoided in Gaga training to facilitate movement guided by sensing and imagining rather than sight. [1] AboutThe Gaga movement language was created by Ohad Naharin, former Martha Graham dancer and artistic director of Batsheva Dance Company as of 1990. The movement language has developed over time in relation to Naharin’s research in dance and choreography. Naharin created Gaga as a reaction to a back injury he was experiencing. The language is intended to facilitate communication with the dancers and help them to take care of the body while testing their physical limitations.[5] The terminology within the language often emphasizes pleasure and freedom.[6] The idea is that the mind can undergo many tasks and the body can still explore its power, so long as it adheres to pleasure. The movement can be uninhibited, as pleasure prevents injury.[7] The language allows for the breaking of movement habits and the experience of effort and exaggeration, with an emphasis on sensation.[8] MethodologyA Gaga class is given as a procession of instructions that give access to bodily sensations. Each instruction is meant to help the dancer use mental approaches to create physical research. Because of the dependence of Gaga on the actual setting and people involved, there is no uniform class structure, however there are specific methodologies employed. FloatFloat is maintained through the entirety of a gaga class. Float does not ignore the existence of gravity. However rather than giving into gravity and adhering to heaviness, the body uses gravity as a force of energy and even elevation of the limbs.[9] As Naharin states, “we sense the weight of our body parts, yet, our form is not shaped by gravity” [10]. Additionally, float ignites a constant awareness and activeness. The dancers are never completely released, even when they are doing nothing. Instead they are “available” for movement.[11]. VocabularyNaharin created Gaga terminology specific to bodily functions that activated throughout a dancer’s Gaga practice. “Biba” means to pull the body away from the seat bones. It is meant to create more space and freedom in the lower spine. “Tashi” means to move with feet glued to the floor. “Pika” is the activation of the spot right beneath the pubic bone.[12] Focus on PleasureNaharin emphasizes the return to pleasure, especially within moments of exaggeration and bodily effort. His belief is that pleasure is always good for the body. Gaga often requests demanding actions, such as running and shaking, but the effort of “burning muscles” must be tied to pleasure in order to keep it healthy.[13] In fact, Gaga has been taught in centers for patients with Parkinson’s disease as a form of healing [14]. Release of Aesthetic AmbitionsThe Gaga language focuses on the internal sensations. Due to this, classes are run without mirrors. Naharin emphasizes the release of ambitions or inhibitions. He states “we might be silly, we can laugh at ourselves”[15] This kind of instruction is an effort for exploratory research without limits or tensions. Connection to GrooveWith or without music, dancers are asked to connect to the musicality of their movement.[16]. Naharin emphasizes the attention to groove, as groove is a universal experience regardless of technique levels.[17] See also
References1. ^1 2 [https://www.academia.edu/6458350/Building_Bodies_with_a_Soft_Spine._Gaga_Ohad_Naharins_invention_in_practice_its_roots_in_Feldenkrais_and_the_vision_of_a_pedagogy "Building Bodies with a Soft Spine"], Retrieved December 15, 2015. {{dance-stub}}2. ^{{Cite news|url=https://batsheva.co.il/en/gaga|title=Batsheva Dance Company: Gaga|access-date=2017-03-18}} 3. ^[https://www.youtube.com/watch?v=OGPG1QL1vJc&list=PLNc5MrHJi6tzihfXf dE_uWz1hH1ZMkZlj "Ohad Naharin Discusses Gaga Movement"], Retrieved December 15, 2015. 4. ^{{cite web|last1=Galili|first1=Deborah|title=Gaga for Dancers: From the Gaga Intensive to New Open Classes|url=https://www.danceinisrael.com/2009/08/gaga-for-dancers-from-the-gaga-intensive-to-new-open-classes/|website=Dance in Israel|accessdate=October 30, 2017}} 5. ^Martha Schabas, [https://www.theglobeandmail.com/arts/theatre-and-performance/choreographer-ohad-naharin-on-developing-the-dance-language-gaga/article33531396/ Choreographer Ohad Naharin on developing the dance language Gaga] The Globe and Mail 6. ^Batsheva.co.il, [https://batsheva.co.il/en/gaga Gaga] Batsheva Dance Company Website 7. ^Batsheva.co.il, [https://batsheva.co.il/en/gaga Gaga] Batsheva Dance Company Website 8. ^Ohad Interview, [https://www.youtube.com/watch?v=bje66VbeJGM Interview] Ohad Naharin on the Language of Gaga 9. ^KATAN-SCHMID, EINAV. EMBODIED PHILOSOPHY IN DANCE: Gaga and Ohad Naharin's Movement Research. PALGRAVE MACMILLAN, 2018. 10. ^Gaga People, Gaga Gaga People website 11. ^KATAN-SCHMID, EINAV. EMBODIED PHILOSOPHY IN DANCE: Gaga and Ohad Naharin's Movement Research. PALGRAVE MACMILLAN, 2018. Page 123. 12. ^KATAN-SCHMID, EINAV. EMBODIED PHILOSOPHY IN DANCE: Gaga and Ohad Naharin's Movement Research. PALGRAVE MACMILLAN, 2018. 13. ^KATAN-SCHMID, EINAV. EMBODIED PHILOSOPHY IN DANCE: Gaga and Ohad Naharin's Movement Research. PALGRAVE MACMILLAN, 2018. 14. ^ 'Dancing with Parkinson's ' 15. ^Gaga People, Gaga Gaga People website 16. ^KATAN-SCHMID, EINAV. EMBODIED PHILOSOPHY IN DANCE: Gaga and Ohad Naharin's Movement Research. PALGRAVE MACMILLAN, 2018. Page 156. 17. ^Gaga People, Gaga Gaga People website 2 : Dance in Israel|Israeli inventions |
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