Download The Wise Body: Conversations with Experienced Dancers by Jacky Lansley, Fergus Early PDF

By Jacky Lansley, Fergus Early

In The clever physique: Conversations with skilled Dancers, united kingdom choreographers Jacky Lansley and Fergus Early interview twelve individual dancers from assorted backgrounds and disciplines who proceed to take pleasure in quite lengthy appearing careers. They talk about early education, memorable appearing reports, the issues that maintain them, and the pleasures and demanding situations of being ‘older’ dancers in a career during which adolescence is frequently idolized. The individuals comprise Philippe Priasso, Lisa Nelson, l. a. Tati, Julyen Hamilton, Yoshito Ohno, Steve Paxton, Will Gaines, Jane Dudley, Pauline de Groot, and Bisakha Sarker.

Taken as an entire, the interviews, with their lengthy and overseas viewpoint, invite an intensive reappraisal of the improvement of contemporary and postmodern dance and their diverse cultural beginning issues provide upward thrust to severe questions on the that means of dance as an artwork form.

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I remember thinking about how to continue dancing when I was through with high school – whether to go to a conservatory, like Juilliard, which I didn’t want to do, or to become a ‘choreographer’; but even as I thought it, I was asking the question – what the hell is a choreographer? I remember thinking that I was not really sure, but I made a decision to go to Bennington College,3 a liberal arts college which took a creative approach to dance, from where things shifted quite a bit. Jacky:  So that was the main intention, to choreograph?

It was very funny as well. La Tati: It all depends on which dance I’m interpreting. For example, the dance from Cadiz is very open to the ocean, the Atlantic, the salt. Other dances are much more sad and have another tempo. It’s a corporal expression. You express with your face and body everything you feel. Jacky:  How do you train, how do you keep fit? La Tati: I don’t usually keep to a training schedule. When I’m not performing I go to the theatre, I read, I see other groups. I teach my dance classes.

Julyen:  I was in Cambridge retaking A levels to try and get into University, which I knew I didn’t want to do. I wanted to get my teeth into something because I knew that was how I learnt. In Cambridge I got involved with acting and in one of the projects Liebe Klug1 was doing the movement for The Tempest and I was one of the two Ariels who were dressed hermaphroditically, bisexual or asexual. All these things made a lot of sense to me; the female sensibility that was in all the poetry and literature which I felt at home with and another sort of viscerality which was portrayed much more as a male side – this character who didn’t speak much but moved a lot in a speaking context.

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