By Jonathan Burrows
On choreography: "Choreography is a negotiation with the styles your physique is pondering" On principles: "Try breaking the foundations on a necessity to wreck the foundations foundation" A Choreographer’s instruction manual invitations the reader to enquire how and why to make a dance functionality. In an inspiring and strangely empowering series of news, principles and paradoxes, the world over well known dancer, choreographer and instructor Jonathan Burrows explains how it’s attainable to navigate a direction via this advanced procedure. it's a lovely mirrored image on a private perform trip, and attracts upon 5 years’ of workshop discussions, led through Burrows. Burrows’ open and sincere prose provides the reader entry to a number of workouts, meditations, ideas and ideas on choreography that let artists and dance-makers to discover their very own aesthetic method. it's a e-book for somebody drawn to making functionality, at no matter what point and in whichever variety.
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Additional resources for A choreographer's handbook
From ‘Parallel Voices’ talk, Siobhan Davies Studios, London, February 2007. 51 Studios: The place where you work will have an effect on what you can do. Where do you work? What might be the right place for you to work? Funding applications: If you apply for funding, you will have to write a very good description of what you’re going to do. This is not the same thing as making a very good piece, though these two things get confused by some people. Before you write this description you most likely don’t know what you’re going to do, only that you need to do it.
You may have to try a lot of principles that arrive at a lot of possible materials, before you experience this recognition. Working and then throwing things away is still working. There are always more possibilities. One of them will be the one you’ll recognise. 36 A CHOREOGRAPHER’S HANDBOOK Contract / Performance space / Language / Choreography Contract: The ﬁrst things the audience see when a performance begins form a contract. This contract teaches the audience how to read the performance, at the same time as the performance is unfolding.
65. Form is something against which to push your imagination free. 28 Exploration / Risk Exploration: Am I exploring writing this book? Or am I writing this book? I don’t want what I’m doing to be just a test, a practice run for something that will happen later. I want it to happen now. So I’d like to make a new principle, to add to my list of principles for trying to write this book. The new principle is this: ‘no exploration, only work’. This doesn’t, of course, mean that I won’t explore things.
A choreographer's handbook by Jonathan Burrows