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Terese Capucilli Focus plays a big part in dance, in general. You might have heard me talk about in my class the idea of having eyes at every peripheral of your body. You imagine being able to feel what we call our “back space” and to be able to feel the space around you sensually, by using all your senses not necessarily sexually, but sensually, feeling the space around you. If you have little eyes, or little ears, on every single pore of your body, it intensifies your sensitivity to the space around you as a dancer and you want to inhabit that space. Having a clear frontal focus can then give you this feeling of being that. It’s a very important thing in terms of how I use the diagonals in Deep Song: what those aspects are, where they are for me, and the sense of distance. Lea Clay With diagonals and looking, are you creating more distance? Are you creating more distance by looking and reaching out? Terese Capucilli When you’re on the stage, you have three walls. And the fourth wall is the open wall to the audience. We talk about that as penetrating your fourth wall. There need to be some gazes that go beyond where you are on the stage and where your thought process may take you, or the movement might take you, but then there are those places where it has to go beyond the fourth wall so that it can reach a certain distance in the space. Of course the most powerful example of really penetrating the fourth wall is when you’re standing upstage with your back to the audience and you can penetrate the fourth wall with your back. Then you know you have expression. Pure expression.

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Esferas—Issue Two  
Esferas—Issue Two  

Esferas is an undergraduate student and alumni initiative from New York University’s Department of Spanish and Portuguese. We are a peer-re...

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