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IN BALLET THERE ARE MANY ASPECTS THAT RECKON WITH BODY ORGANIC.THE QUESTION IS WHAT DO YOU DO WITH YOUR BODY, NOT INSIDE THE STYLE, BUT INSIDE YOUR BODY. SO IT DEPENDS ON PEOPLE AND ATTITUDE, NOT ON STYLE. H: EVERY BODY IS INDIVIDUAL... T: YES, YOU HAVE TO RECKON WITH BIOMECHANICS AND THE STRUCTURE OF SKELETON. IF WE KNOW, HOW WE USE OUR SUPPORTING SYSTEM, THEN THERE IS NO QUESTION IN WHICH STYLE ARE YOU WORKING IN. IT IS A PITY I HAVE REACHED THE KNOWLEDGE OF KINESIOLOGY AND BIOMECHANICS SO LATE. BUT BETTER LATE THAN NEVER. H: WHAT IS BIOMECHANICS? T: IT MEANS OUR MUSCLES HAVE CERTAIN FUNCTIONS, IT DOES NOT MATTER IF YOU ARE A DANCER, ATHLETE OR COMMON MAN. OUR BODY HAS AN ORDER WHICH WE CAN NOT IGNORE. WE HAVE TO STUDY IT OR WE BREAK OURSELVES. WHEN WE WORK WITH ONLY ONE PART OF THE BODY, OTHER PARTS GET WEAK. H: DID YOUR CONTEMPORARY DANCE BEGIN WITH SOME KIND OF PHILOSOPHY OR DID YOU START WITH MOVEMENT WHICH GREW INTO THE KNOWLEDGE OF BODY AS A THINKING WHOLE. T: DANCE IS A VISUAL WORLD, BUILT THROUGH SENSING AND CREATING EMOTIONS. AT FIRST WE JUST COPIED TRADITIONAL MODERN DANCE TECHNIQUES.GRAHAM TECHNIQUE FOR SOMEBODY WITH SHORT LEGS AND LONG BODY. NIKOLAIS TECHNIQUE SAID THAT THERE IS NO DIVISION BETWEEN MALE AND FEMALE MOVEMENTS. IN CONTEMPORARY DANCE IT IS POSSIBLE TO CONCENTRATE ON YOUR OWN INDIVIDUAL BODY AND MOVEMENT, NOT ON COPYING. THERE ARE MANY WAYS OF THINKING AND MOVING, BUT THE GROUND,THE ESSENCE IS BLEARY. H: MAI MURDMAA SAID IN ONE INTERVIEW THAT A CONTEMPORARY DANCER „LIVES INSIDE THE MOVEMENT.“ WHAT KIND OF A MIRACULOUS BEING IS THE CONTEMPORARY DANCER? T: CONTEMPORARY DANCER LIVES TOGETHER WITH HIS/HER BODY. IT CAN ALSO BE A CLASSICAL DANCER. DANCER HAS TO BE AWARE WHAT IS HAPPENING WITH HIS BODY AND HOW REAL HE CAN BE. IS HE JUST OBSERVING HIMSELF FROM FAR OR IS HE REALLY TOUCHING HIS INSIDE WORLD. KNOWING OF THE MATERIAL, YOUR OWN MUSCLE SENSITIVITY IS WHAT DISTINGUISHES EXCELLENT DANCERS AND ATHLETES FROM MEDIOCRE ONES. H: WHERE COMES THE IMPULSE FOR THE CHOREOGRAPHY? HOW VISIBLE IS THE PROCESS FROM IDEA TO PERFORMANCE? T: IT IS ALWAYS DIFFERENT. IN „PHASES“ THE IMPULSE WAS MUSIC (STEVE REICH), SO MINIMALISTIC MOVEMENT CAME FROM THIS. IN „BET“ IT WAS THE OTHER WAY AROUND, IT EMANATED FROM HUMAN TYPES AND THEIR PLAYFUL INTERACTION. MUSIC CAME AFTER THAT. IN SOME PIECES MUSIC IS JUST THE SOUNDSCAPE AND OTHERS THAT HAVE BEEN COUNTED PRECICELY TO MUSIC. BUT THEN WE TALK ABOUT TOTALLY OTHER AMOUNT OF TIME. MUSICIAN CAN READ THE NOTE, DANCER HAS TO LEARN NOTES BY HEART AND HAS TO KNOW WHEN MOVEMENTS ARE

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HEART - FLORA issue  

ISSUE NO.3