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Courses

Dance

Advanced Dance Improvisation Ensemble

For students with extensive experience with dance improvisation. Our practice will involve developing scores by the participants using both solo and ensemble forms. Students may then show their work-on-progress in Workshops and/or in public performances. Prerequisites: Permission of the instructor.

  • Terry Creach | SP2012 | T, 2:10PM- 4:00PM | DAN4711.01

Advanced Projects in Dance

This is an essential course for students involved in making work for performance this term. Attention is given to all of the elements involved in composition and production, including collaborative aspects. Students are expected to show their work throughout stages of development, complete their projects, and perform them to the public by the end of the term. Dance Workshop is required. Prerequisites: Advanced level experience in dance and permission of the instuctor. Corequisites: Dance Workshop (Thursday 7 - 8:30 pm), and Dance or Drama lab assignment.

  • Dana Reitz | FA2014 | M, 6:30PM- 8:20PM | DAN4795.01
  • Terry Creach | FA2012 | M, 6:30PM- 8:20PM | DAN4795.01
  • Dana Reitz | FA2013 | T, 6:30PM- 8:20PM | DAN4795.01
  • Dana Reitz | SP2012 | T, 6:30PM- 8:20PM | DAN4795.01
  • Susan Sgorbati | FA2011 | T, 6:30PM- 8:20PM | DAN4795.01
  • Dana Reitz | SP2011 | W, 6:30PM- 8:20PM | DAN4795.01

An Introduction to Dance Phrasing

This is designed for those who are interested in developing a sense of personal movement phrasing by making and exploring material. Full attention is paid to detail, nuance, and finesse of any phrase material that is made. Performance of the material will directly affect the sense of phrasing and technical understanding, and in reverse, knowledge of technique/phrasing will help develop performance skill. Students are expected to create and develop new phrase material of their own, teach this work to others, and rehearse outside of class. Phrases may be combined into larger dance scores that are performed in dance workshops or studio showings. Prerequisites: None.

  • Dana Reitz | SP2012 | T, 2:10PM- 4:00PM | DAN2321.01
  • Dana Reitz | SP2013 | W, 2:10PM- 4:00PM | DAN2321.01

Artist's Portfolio

Explaining art work often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop, creatively and flexibly, essential skills. Finding a public language for what is the private process of creation is an art in itself. Furthermore, understanding and discovering ways to adapt to changing economic realities is a critical component of making work; bringing the work into the world is a natural part of the artist's process. This course addresses basic issues involved in generating, developing, producing, and presenting art work. Students will write artist statements, press releases, biographical statements, resumes, c.v.'s, grants and cover letters; will prepare budgets, will organize promotional portfolios/videotapes; will interview each other; and will give short lecture demonstrations. Prerequisites: Advanced level work in one of the art forms. Permission of the instructor.

  • Dana Reitz | FA2012 | T, 4:10PM- 6:00PM | DAN4366.01
  • Dana Reitz | FA2013 | T, 4:10PM- 6:00PM | DAN4366.01
  • Dana Reitz | FA2014 | T, 4:10PM- 6:00PM | DAN4366.01
  • Dana Reitz | FA2011 | T, 4:10PM- 6:00PM | VA4366.01

Basic Anatomy of the Moving Body

To understand the working of our own bodies, we will examine bones, deep muscles, organs, and nerves using illustrated images and visualization. We will then work to facilitate the ability to access the innate intelligence of each participant's own unique physical patterns. We will study the relationship and coordination between anatomical landmarks for a more thoughtful exploration of movement potential. Improvisation will be used to apply this knowledge to action so we can immediately demonstrate practical ways of moving, initiating, and relating. Drawing and writing assignments, both in class and at home, will help create another avenue for the full and rich expression of the body and mind. We will utilize reading material from Bonnie Bainbridge Cohen, Moshe Feldenkrais, and Susan Klein, plus many other teachers to discuss, analyze and compare. Prerequisites: None.

  • Elena Demyanenko | FA2014 | MTh, 2:10PM- 4:00PM | DAN2132.01
  • Elena Demyanenko | FA2013 | Th, 4:10PM- 6:00PM | DAN2132.01

Butoh

Class starts with quiet and soft warm-up exercises with the intention of letting all tension go from your body and mind. A relaxed body with no expectation will allow you to be open and available to whatever comes to you. In Butoh, by accepting both what's surrounding you and what's happening inside yourself, using imagination and establishing a sense of presence, your body will keep transforming and inviting dance. Unique and imaginative terms such as "sneezing body," "swallow pollen," "dead bird," "heavy face," etc. will sometimes be offered in class exercises. However, this class will encourage you to recognize and discover the uniqueness of your own physicality without allegiance to any particular form or style. Prerequisites: None.

  • Kota Yamazaki | SP2014 | MTh, 10:10AM-12:00PM | DAN2105.01
  • Kota Yamazaki | SP2011 | TF, 2:10PM- 4:00PM | DAN2105.01

Collaboration in Light, Movement, and Clothes

Visual elements are a significant component of performance, whether it be theater, performance art, music or dance. With many performance projects, there is little time to contemplate, rethink or adjust designs in the actual performance space; there is rarely an opportunity to watch a collaborative art develop. In this class, equipped space is available to give the time to seriously look at and question the integration of performance elements. Furthermore, this situation is an opportunity to explore equal partnership among the collaborators, whose roles will shift. Students are actively involved in all aspects -- making movement, designing lighting and designing costumes. Explorations are structured for both formal theatrical contexts and informal studio situations as well as found environments. Time for group project development must be invested outside of class in the Martha Hill Theater. While some projects are done on an individual basis, most coursework requires close collaboration with other students in the class and close observation of the work of others. All work done for the course is viewed and discussed by the class and instructors as a group. Prerequisites: Previous experience in drama, dance, or visual arts: in creating, directing, performing, and/or designing. Corequisites: Dance or Drama lab assignment.

  • Charles Schoonmaker | SP2013 | MTh, 10:10AM-12:00PM | DAN4286.01
  • Dana Reitz | SP2011 | MTh, 10:10AM-12:00PM | DAN4286.01
  • Dana Reitz | SP2013 | MTh, 10:10AM-12:00PM | DAN4286.01
  • Daniel Michaelson | SP2011 | MTh, 10:10AM-12:00PM | DAN4286.01
  • Michael Giannitti | SP2011 | MTh, 10:10AM-12:00PM | DAN4286.01
  • Michael Giannitti | SP2013 | MTh, 10:10AM-12:00PM | DAN4286.01

Color in Light: Changing Perceptions

Light dramatically affects the way we look at the world, and the use of color in light adds to this drama. It can alter our sense of space and time, affect our emotions and subtly guide us in unexpected directions. In this class, we will focus on the impact of color in space, honing our skills in using it to translate and alter ideas. Students are expected to work in teams and independently, to develop ideas outside of class and present them to the group. Class critiques will be essential to help understand how well ideas are communicated in light. Brief writing assignments will sharpen observation skills as well. Prerequisites: None.

  • Rick Martin | SP2012 | Th, 2:10PM- 6:00PM | DRA2239.01

Contemporary African I/Burkina Faso

Rooted in Contemporary African dance; dancing over/under/inside and outside the tradition. This is a course in Souleymane Badolo's own movement style. We always begin class with a warm-up that involves both physical and mental preparation. We listen to internal rhythms and the beat of the music, learn about how to use the body in the space it occupies, and find ways of physically incorporating new information - answering questions the body may have. Prerequisites: None.

  • Souleymane Badolo | SP2012 | MTh, 4:10PM- 6:00PM | DAN2307.01
  • Souleymane Badolo | FA2011 | MTh, 10:10AM-12:00PM | DAN2307.01
  • Souleymane Badolo | FA2013 | MW, 4:10PM- 6:00PM | DAN2307.01
  • Souleymane Badolo | SP2013 | MW, 4:10PM- 6:00PM | DAN2307.01
  • Souleymane Badolo | FA2012 | MW, 10:10AM-12:00PM | DAN2307.01

Contemporary African II/Burkina Faso

Souleymane Badolo will teach his technique as well as choreographic segments from his larger works. Deeply involving ourselves in the harmonization of gesture, touch, listening and responding, we will work toward precision of movement in time and space, searching for the essence of movement. Prerequisites: Permission of the instructor.

  • Souleymane Badolo | FA2011 | MTh, 4:10PM- 6:00PM | DAN4307.01
  • Souleymane Badolo | FA2012 | W, 4:10PM- 6:00PM | DAN4307.01
  • Souleymane Badolo | FA2013 | W, 4:10PM- 6:00PM | DAN4307.01

Costume Design Projects for Dance

The focus of this class is the design of costumes for dancers. The members of the class will be designing the clothes for the performances in the Martha Hill Dance Concert as well as the WIP (works in progress) performances. Prerequisites: Students should have taken a Dance Composition course of 2000 or 4000 level, or a costume design or costume history course or obtain the permission of the instructor.

  • Charles Schoonmaker | FA2012 | F, 10:10AM-12:00PM | DAN4206.01

Costume Rendering

This class will explore various methods of communicating one's design ideas to directors, performers, producers, and other members of a creative team. We will use traditional materials such as paper, pencil, and paint. We will also work in new media, such as 'Brushes' on tablets, or Photoshop. It is beneficial if students are comfortable drawing and familiar with programs like Photoshop. Prerequisites: None.

  • Charles Schoonmaker | FA2012 | F, 2:10PM- 4:00PM | DAN2205.01

Dance Improvisation Ensemble

For students with extensive experience with dance improvisation. Our practice will involve developing scores by the participants using both solo and ensemble forms. Students may then show their work-on-progress in Workshops and/or in public performances. Prerequisites: Permission of the instructor.

  • Kota Yamazaki | SP2014 | MTh, 4:10PM- 6:00PM | DAN4311.01

Dance Making/Visual Prompts

This course focuses on translating images from one form or medium into another. Working with a wide variety of prompts, we will explore both figurative and nonfigurative forms. The goal is to investigate increasingly complex artifacts and consider each a source for developing movement. Class will be conducted as a studio seminar; we will use analytical exercises and impulsive improvisations to complete a movement-based project each week. The projects will be presented periodically at Dance Workshop (Thursdays 7 - 8:30pm). Students are expected to attend Dance Workshop and complete a lab assignment (assist in a dance/theater production). Prerequisites: Prior experience in dance and permission of the dance faculty. Corequisites: Dance Workshop,Thursdays 7-8:30pm. Dance or Drama lab assignment.

  • Gwen Welliver | SP2013 | TF, 2:10PM- 4:00PM | DAN4120.01
  • Gwen Welliver | SP2012 | WF, 2:10PM- 4:00PM | DAN4120.01

Dance on Film

For students of all disciplines, this course will include weekly screenings of dance on film. We will be looking at a wide variety of dance, from The Ballets Russes to early Modern Dance at Bennington to Postmodern Dance, nationally and internationally. We will also utilize the library collection of dance films from cultures around the world, to examine the diverse styles and sources of movement in all populations. Students will be expected to write about what they are viewing, and place the content of the films within an historical context. Prerequisites: None.

  • Susan Sgorbati | FA2011 | W, 2:10PM- 4:00PM | DAN2277.01
  • Terry Creach | FA2014 | W, 10:10AM-12:00PM | DAN2277.01
  • Terry Creach | SP2013 | W, 10:10AM-12:00PM | DAN2277.01

Dance Performance Project: "Juxt"

Well begin with issues of physical control and awkwardness and work collaboratively to develop both solo and interactive movement material. Well tryout random juxtapositions to see where the forms and sequences lead us. The plan is to work with some intensity in the first seven weeks and then meet weekly in the second seven weeks to refine and shape material for a public performance. Prerequisites: Prior dance training and permission of the instructor. If you have studied with the instructor previously, email tcreach@bennington.edu with your interest. Or audition prior to registration Fall 2011, to be scheduled.

  • Terry Creach | FA2011 | , - | DAN4103.01

Dance Performance Project: Chain Reaction

Collaborating in a group is a dynamic process of momentum and choice making. We will work individually and collectively, generating material that is intended to challenge our athleticism, communication skills and movement invention. This is a performance piece for a small group of five to seven dancers who can meet twice a week for the first seven weeks of the term. It will be performed in one of the scheduled concerts during the second half of the term. Prerequisites: Audition, to be scheduled.

  • Joseph Poulson | SP2011 | W, 8:20AM-12:00PM | DAN4678.01

Dance Performance Project: Here, There, and Where

This performance project examines contradicting or opposing movement qualities, such as stillness/activity and fluidity/awkwardness, in both pedestrian and technical movements. Using delicate images to heighten perception, we will explore the sense of time and space as experienced internally (i.e. with memories) as well as the sense of time and space experienced externally. Materials will be developed and composed by both the instructor and the participants in the rehearsals scheduled twice a week in the first seven weeks, and then these materials will be refined for a public performance during the second half of the term. Prerequisites: Audition times to be scheduled.

  • Kota Yamazaki | SP2014 | W, 10:10AM-12:00PM | DAN4213.01

Dance Performance Project: The Pasture

This performance project will use image-based improvisations to explore full-body portraiture via movement, performance, and drawing. Figurative and nonfigurative approaches to anatomy, gender, and character in real and fantastical forms will lead us to make a myriad of scenes and images. Be it a series, a score, or a longer dance, our work will be performed at the the end of the term. Prerequisites: Prior experience in dance and permission of the dance faculty.

  • Gwen Welliver | SP2013 | W, 4:10PM- 6:00PM | DAN4215.01

Dance Repertory Project

This course will meet for the first seven weeks of the term. Initially, we will focus on learning sections from existing Gwen Welliver repertory. Eventually, we will dissect, rearrange and expand the material to make a new work. Our work in progress will be shown periodically at Dance Workshop (Thursdays 7 - 8:30pm); the completed work will be presented at the end of the seven-week course or later in the term, as appropriate. Prerequisites: Prior experience in dance and permission of the Dance Faculty (see Dana Reitz).

  • Gwen Welliver | SP2012 | WF, 10:10AM-12:00PM | DAN4420.01

Design and/or Stage Management: School for Lies

Students in this course will engage in the process of set design, lighting design, and/or stage management for the production of THE SCHOOL FOR LIES. Class meetings will provide a forum and mentoring for students involved in design and/or stage management production projects, and out of class work on the production will be substantial. It is open to students who have completed at least one course in design, or have completed or are currently enrolled in a stage management course. While the production will provide the context for most of the work, other assignments may complement the produced work. Students should expect that the hours required to complete the work will not be equally distributed throughout the term; during production periods, much more intensive work is necessary. Students may take this course for two or four credits, depending on their desired work load. Students in the two and four credit section meet together weekly as a class. The amount of credit is based on project magnitude and duration. Depending on the College production calendar, students enrolled for two credits may be able to complete most of their work within half of the term. Prerequisites: One design or stage management course, or current enrollment in DRA2251 Stage Management Process.

  • Michael Giannitti | FA2012 | M, 2:10PM- 4:00PM | DAN4291.01

Designing a Light Plot

As a follow-up to the course Working With Light, students in this class will learn how to merge lighting design ideas with the constraints inherent in theater spaces, scenery and lighting equipment. Design drafting will be emphasized in this course. In one major project, students will synthesize and apply material covered to develop (on paper) a complete lighting design. Prerequisites: None. Corequisites: DRA2234 Working With Light in first half of term (or a previous term).

  • Michael Giannitti | FA2012 | MTh, 8:10AM-10:00AM | DAN2245.01
  • Michael Giannitti | FA2011 | MTh, 2:10PM- 4:00PM | DRA2235.01
  • Michael Giannitti | FA2013 | MTh, 10:10AM-12:00PM | DRA2235.01
  • Michael Giannitti | FA2014 | MTh, 10:10AM-12:00PM | DRA2235.02

Experiential Anatomy

This is a studio class intended to deepen the understanding of your own moving body. We will be studying kinesthetic anatomy: approaching the material through visual, cognitive, kinesthetic, and sensory modes. Class time will be divided between discussion of anatomy and kinesthetic concepts, and engaging with the material experientially through movement and touch. Movement exercises will be designed to integrate the anatomical information by increasing somatic awareness (strengthening body-mind connection). Various body systems will be examined: skeleton, organs, muscles, nerves, fluids. We will study the parts of each, then how each system relates to the whole; providing support for an integrated, healthy, as well as artistically interesting movement/dance practice. Class will be rooted in somatic movement approaches to movement education. Key developers of the field, many of whom have had a major influence on contemporary dance will be read as homework and discussed in class. Prerequisites: None.

  • Ione Beauchamp | FA2011 | TF, 4:10PM- 6:00PM | DAN2201.01
  • Ione Beauchamp | FA2012 | TF, 4:10PM- 6:00PM | DAN2201.01
  • Ione Beauchamp | SP2011 | TF, 4:10PM- 6:00PM | DAN2201.01
  • Ione Beauchamp | SP2013 | TF, 4:10PM- 6:00PM | DAN2201.01

Experiential Anatomy/ Somatic Practices

This is a studio class intended to deepen the understanding of your own moving body. We will be studying kinesthetic anatomy: approaching the material through visual, cognitive, kinesthetic, and sensory modes. Class time will be divided between discussion of anatomy and kinesthetic concepts, and engagement with the material experientially through movement visualization and touch. Movement exercises will be designed to integrate the anatomical information by increasing somatic awareness (strengthening body-mind connection). Various body systems will be examined: skeleton, organs, muscles, nerves, and fluids. We will study the parts of each, then how each system relates to the whole: providing support for an integrated, healthy, as well as artistically interesting movement/dance practice. Class will be rooted in somatic movement approaches to movement education. Key developers of the field, many of whom have had a major influence on contemporary dance will be read as homework and discussed in class. We will embody the learned information via improvisational and instruction-based games, thus enhancing ease and perhaps personal discovery. We will explore and create improvisational scores to take home and to integrate into daily practice in order to apply the findings of the class. Tools such as drawing and writing will become the building blocks for making clear and concise movement as well as serving to create a vehicle for the full and rich expression of the body and mind. Prerequisites: Permission of a Dance Faculty Member.

  • Elena Demyanenko | FA2013 | W, 2:10PM- 4:00PM | DAN4106.01

Finding Form: Dance

Looking at forms found in nature, architecture, music, drama, literature, etc., we search for examples to help formulate ideas and structures for movement-based compositional purposes. How can we as artists find form that best supports our investigations and challenges our working processes; how do we analyze, interpret and further utilize form that is inherent in work that is already being made? Students are expected to make new movement material, develop work outside of class, teach some of the work to others, and, in return, learn material from others. They will show their compositional studies regularly, write about many aspects involved in their working processes, and draw (while observing others and while working in their own studio practices). Projects will be performed/presented in studio showings or dance workshops. Students of intermediate/advance level in the performing and/or visual arts are welcome. Attendance at Dance Workshop (Thursday 7 - 8:30 pm) is highly recommended. Prerequisites: Intermediate/advanced level in performing arts and/or visual arts and permission of the instructor. Corequisites: Dance or Drama Lab assignment.

  • Dana Reitz | FA2011 | MTh, 2:10PM- 4:00PM | DAN4319.01
  • Dana Reitz | FA2012 | MTh, 10:10AM-12:00PM | DAN4319.01
  • Dana Reitz | FA2013 | MTh, 10:10AM-12:00PM | DAN4319.01
  • Dana Reitz | FA2014 | MTh, 10:10AM-12:00PM | DAN4319.01

First-Year Dance Intensive

Primarily for first-years, but for any student who has a serious interest in dance, whether or not they have previous dance experience. We will consider many aspects of dance making, including an investigation of the physical sensations and impulses that inform our moving; the development of one's own physical awareness and movement skills; improvisational structures that test and inform our forming and moving; and tools needed for developing and performing this work. Collaborative and solo projects will be developed throughout the term, and will include a showing in Dance Workshop or in the end-of-term Studio Concert. Prerequisites: None. Corequisites: Dance Workshop, Thursdays 7 - 8:30 pm. Dance or Drama lab assignment.

  • Terry Creach | FA2012 | MTh, 2:10PM- 4:00PM | DAN2107.01
  • Terry Creach | FA2013 | MTh, 2:10PM- 4:00PM | DAN2107.01
  • Terry Creach | FA2011 | TF, 10:10AM-12:00PM | DAN2107.01
  • Terry Creach | FA2014 | TF, 10:10AM-12:00PM | DAN2107.01
  • Susan Sgorbati | FA2011 | TF, 10:10AM-12:00PM | DAN2107.02

Forms in Emergent Improvisation

This improvisation class will be investigating the following emergent forms: complex unison, the remembered present, the recall form, landscapes and dreamscapes. Students will learn each form and develop their Solo Practice as an essential contribution to the work. Skills such as pattern recognition, attention to developmental arcs and the tracking of local and global signals will be part of the practice. Each form will be explored in depth utilizing the compositional tools necessary to perform them. Prerequisites: Beginning Improvisation course.

  • Susan Sgorbati | FA2011 | W, 10:10AM-12:00PM | DAN4117.01

Improvisation Ensemble for Dancers & Musicians

This course focuses on work in the performance of improvisation. For dancers, special attention is given to the development of individual movement vocabularies, group ensemble structures, and the exploration of emergent forms. For musicians, attention is given to creating rhythms and sonorities which can then be manipulated and developed while interacting with dancers in the moment. Dancers are expected to have experience with improvisation in performance. Musicians should have basic skills on their instrument and be able create and convey a sense of form to other musicians. Both dancers and musicians will meet together on Mondays 4-6 PM. Dancers meet Thurs. 4-6 PM. Musicians meet Tues. 4-6 PM Prerequisites: Prior experience and training in either dance or music, and permission of the instructor. Corequisites: For Dancers: Dance or Drama lab assignment.

  • Bruce Williamson | SP2011 | MTh, 4:10PM- 6:00PM | DAN4357.01
  • Michael Wimberly | FA2014 | MTh, 4:10PM- 6:00PM | DAN4357.01
  • Susan Sgorbati | FA2014 | MTh, 4:10PM- 6:00PM | DAN4357.01
  • Susan Sgorbati | SP2011 | MTh, 4:10PM- 6:00PM | DAN4357.01
  • Bruce Williamson | FA2013 | W, 7:00PM- 9:00PM | DAN4357.01
  • Susan Sgorbati | FA2013 | W, 7:00PM- 9:00PM | DAN4357.01
  • Michael Wimberly | SP2013 | MTTh, 4:10PM- 6:00PM | MPF4357.01
  • Susan Sgorbati | SP2013 | MTTh, 4:10PM- 6:00PM | MPF4357.01

Improvisation/Composition

Working in two areas of dance-making - improvisation practice and composing practice - we will work to develop more advanced skills, and examine the relationship between improvisation and composition. In the performance of improvisation, being is more important than doing. "Being" opens your mind and body to more possibilities and allows you to react to perceptual information in unexpected ways. In this class, we'll examine space, time, emotion, communication, and imagination, using various formats of improvisation. Texts chosen by the instructor and students may be used to investigate how we can use specific information and images as a tool in structuring the performance of improvisation. Additionally, compositional framing practices will lead to the in-class development and showing of solo and groups works. Kota Yamazaki will be the instructor for the first seven weeks of the term. Richard Siegal will be the instructor for the second seven weeks of the term. Prerequisites: Prior work in dance improvisation and composition, and permission of the instructor.

  • Kota Yamazaki | SP2011 | W, 2:10PM- 6:00PM | DAN4116.01
  • Richard Siegal | SP2011 | W, 2:10PM- 6:00PM | DAN4116.01

Making Fast and For Many

Each session is turned over to one student in the role of choreographer/director/maker. Choreographer/director/maker has 90 minutes to make/assemble/devise "something". Class divides into "cast/performers" and/or "audience/critics". David Gordon/Ain Gordon will interact with and comment on the forming and communication skills of choreographer/director/maker. Where warranted class may also halt the process to talk; What just happened? Do you, the performer, understand what is being asked? Do you the maker hear what you're asking? etc. Each class will culminate in watching and discussing the new material. Focus includes students' ability to notice and shift gears and their readiness to use what is there rather than wish for what is not, etc. This course will be held in the second seven weeks of the term; David Gordon will be teaching the first weeks of the course and Ain Gordon will then teach the remainder of the term. Prerequisites: Prior work in Dance or Drama and permission of Dance Faculty (see Dana Reitz).

  • Ain Gordon | SP2012 | WF, 10:10AM-12:00PM | DAN4140.01
  • David Gordon | SP2012 | WF, 10:10AM-12:00PM | DAN4140.01

Making from Scratch/ Sourcing the Body

This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium. Trusting the intrinsic intelligence of the body in making, we will source multiple systems (eg. muscular, skeletal, fluid, organ) and other ways of reading the body (eg. energy, emotion, history). Form and context are derived from places known through direct experience, drawing on sensation, thought, memory, and imagination. Students' compositional drafts will be regularly created/viewed and discussed, opening up conversations on structure, organization, and disorganization. In order to expand the process, we will develop bi-products for our making through writing, drawing, collage, and storytelling. We will develop the results of this research with a view to presenting and performing in studio showings, produced performances, and/or dance workshops. Attendance at Dance Workshop (Thursday 7 - 8:30 pm) is highly recommended. Prerequisites: Intermediate level experience with dance composition and permission of the instructor.

  • Elena Demyanenko | FA2014 | MTh, 10:10AM-12:00PM | DAN4119.01

Methods of Lighting Design, via Text and Music

An introduction to the methods and techniques of stage lighting design, using dramatic literature and music as the genesis for design ideas. Students will explore the creation of lighting ideas by investigating the light they observe in their every day environments, as well as the images they discover through the reading and discussion of selected plays. There will also be special emphasis placed on the role of music in creating lighting ideas, and the way lighting designs are generated for music-specific events, such as musical theater, opera and concerts. Class time will be devoted to the practical exploration of lighting techniques generated by previous class discussions. Prerequisites: None.

  • Matthew Adelson | SP2012 | F, 8:20AM-12:00PM | DRA2226.01

Movement Practice: Advanced Dance Technique

This advanced movement class addresses the constantly changing body and its potential by expanding receptivity to detail, connections, and logic. The warm-up will examine the joints and how their range of motion relates to alignment, readiness to move, and articulation. We will approach movement from a place of ease and space, especially when applying vigor and attack. Our goal will be to find a way of working from the intelligence of the bones, the guts, and the skin that makes technique central not only to dancing but making work. The aim is to help students select easier, more efficient, and more effective movement options through an in-depth examination of how they are currently organizing solutions to movement problems. During this detailed observation, students will be encouraged to witness their in-class transformation, working towards a greater range of movement and articulation. Using tools from the Alexander Technique, Feldenkrais, Body-Mind Centering, and by addressing joints, muscles and body organs, students are offered an opportunity to find and use the relationships between the parts of the body. These relationships, clear and conscious structural connections, will enhance sensory learning and encourage idiosyncratic, virtuosic ways of moving. Prerequisites: Prior movement training and permission of the instructor.

  • Kayvon Pourazar | SP2012 | MTh, 4:10PM- 6:00PM | DAN4344.01
  • Stuart Singer | SP2012 | MTh, 4:10PM- 6:00PM | DAN4344.01
  • Kota Yamazaki | SP2014 | TF, 8:10AM-10:00AM | DAN4344.01
  • Dai Jian | FA2014 | TF, 10:10AM-12:00PM | DAN4344.01
  • Elena Demyanenko | FA2013 | TF, 10:10AM-12:00PM | DAN4344.01
  • Kota Yamazaki | SP2011 | TF, 10:10AM-12:00PM | DAN4344.01
  • Richard Siegal | SP2011 | TF, 10:10AM-12:00PM | DAN4344.01
  • Stuart Singer | FA2011 | TF, 10:10AM-12:00PM | DAN4344.01
  • Gwen Welliver | SP2013 | WF, 8:10AM-10:00AM | DAN4344.01

Movement Practice: Beginning Dance Technique

For those looking for a basic movement class. We begin with a slow warm-up focused on anatomical landmarks, muscular systems and basic alignment principles, but then progress to vigorous, rhythmic movement patterns and group forms. We work to strengthen, stretch, and articulate the body through longer movement phrases focused on weight shifting, changes of direction, and dynamic changes of energy. We will aim for a multi-dimensional, voluminous way of moving from the internal knowing rather than from external shaping. The class will serve as a laboratory where we observe form, strength, weaknesses, habits, and patterns, and will offer a variety of movement situations: emphasizing awareness, expanding self-perception, and our ability to carry out our intentions. Prerequisites: None.

  • Dai Jian | FA2014 | TF, 2:10PM- 4:00PM | DAN2214.01
  • Elena Demyanenko | FA2013 | TF, 2:10PM- 4:00PM | DAN2214.01
  • Katie Martin | FA2012 | TF, 2:10PM- 4:00PM | DAN2214.01
  • Joseph Poulson | SP2011 | TF, 8:10AM-10:00AM | DAN2214.01
  • Mina Nishimura | SP2014 | TF, 10:10AM-12:00PM | DAN2214.01

Movement Practice: Clear and Simple Ballet

The study of ballet offers unique opportunities and challenges for the modern dancer. It embodies at a deep level the logic of physics and mechanics. Class will follow the traditional format of barre, followed by center work and traveling phrases across the floor. We will focus on alignment and anatomical principles, to develop a safe practice that increases strength, ease and precision. Prerequisites: Prior movement training and permission of the instructor.

  • Richard Siegal | SP2011 | TF, 2:10PM- 4:00PM | DAN4113.01

Movement Practice: Contact Improvisation

Contact improvisation is a duet movement form. Two people move together, playing in physical dialogue, communicating through the language of touch, momentum, and weight. In these classes we will explore some simple solo and duet skills such as rolling, falling, balance, counterbalance, jumping, weight sharing, spirals, and tuning to our sensory input. We will work with an emphasis on breath, alignment, and releasing excess muscular tension in order to allow more vital inner support to flow through the body. Throughout the classes we will combine skill work with open dancing scores in a supportive and focused environment. Students from all disciplines are invited to join this class (including those who think they have two left feet). Prerequisites: None.

  • Felice Wolfzahn | FA2011 | F, 10:10AM-12:00PM | DAN2210.01
  • Felice Wolfzahn | FA2013 | T, 10:10AM-12:00PM | DAN2210.01
  • Felice Wolfzahn | FA2014 | Th, 10:10AM-12:00PM | DAN2210.01
  • Felice Wolfzahn | FA2012 | W, 2:10PM- 4:00PM | DAN2210.01
  • Felice Wolfzahn | FA2011 | F, 2:10PM- 4:00PM | DAN2210.02

Movement Practice: Intermed. Contact Improvisation

For those with prior technique and/or improvisation experience. In this duet form, we communicate through the language of touch, momentum, and weight. We will explore simple solo and duet skills such as rolling, falling, balance, counterbalance, jumping, weight sharing, spirals, and tuning to our sensory input. We work with an emphasis on breath, alignment, and releasing excess muscular tension in order to allow more vital inner support to flow through the body. Throughout the classes, we combine skill work with open dancing scores in a supportive and focused environment. Prerequisites: Prior experience in technique and/or improvisation practices and permission of the instructor.

  • Felice Wolfzahn | FA2013 | T, 2:10PM- 4:00PM | DAN4118.01
  • Felice Wolfzahn | FA2014 | Th, 2:10PM- 4:00PM | DAN4118.01
  • Felice Wolfzahn | FA2012 | W, 10:10AM-12:00PM | DAN4118.01

Movement Practice: Intermediate Dance Technique

This class will be based in the technique developed by Merce Cunningham for the purposes of his choreographic work, and address the articulations of the spine, codified exercises, complex foot/leg combinations, and jump training. The Cunningham Technique is known for its ability to strengthen the dancer's individual awareness of space. The class aims to enhance the dancer's resilience when dealing with change and stillness, as well as develop complex coordinations between the torso and leg work. Musicality and rhythm are inherent to the work, and will be the nuclei of all work performed in class. Alignment, coordination, and phrasing will be the main themes of this intermediate class. Prerequisites: Prior movement training and permission of the dance faculty.

  • Kayvon Pourazar | SP2012 | MTh, 2:10PM- 4:00PM | DAN4314.01
  • Mina Nishimura | SP2011 | MTh, 2:10PM- 4:00PM | DAN4314.01
  • Samuel Wentz | FA2014 | MTh, 2:10PM- 4:00PM | DAN4314.01
  • Stuart Singer | SP2012 | MTh, 2:10PM- 4:00PM | DAN4314.01
  • Stuart Singer | FA2011 | TF, 2:10PM- 4:00PM | DAN4314.01
  • Katie Martin | FA2012 | TF, 10:10AM-12:00PM | DAN4314.01

Movement Practice: Yoga, Gymnastics, and Dance

For students interested in "moving-through" or flowing yoga asanas informed by attention to alignment, along with basic gymnastic floor-exercise skills that deal with momentum and more complex coordinated actions. We will warm-up with the stretching/strengthening poses and sequences from yoga and apply the alignment principles to rolls, handstands, and cartwheels in order to build gymnastic dance sequences. Prerequisites: None.

  • Terry Creach | SP2014 | MTh, 4:10PM- 6:00PM | DAN2213.01
  • Terry Creach | FA2012 | MTh, 8:10AM-10:00AM | DAN2213.01
  • Terry Creach | SP2012 | MTh, 8:10AM-10:00AM | DAN2213.01
  • Terry Creach | FA2013 | MW, 4:10PM- 6:00PM | DAN2213.01
  • Terry Creach | SP2012 | MTh, 4:10PM- 6:00PM | DAN2213.02

Movement Practice:Moving Out -Beginning Dance Tech

For those looking for a basic but intense movement class. We will begin with a slow warm-up focused on anatomical structures, muscular systems and basic alignment principles, but then progress to vigorous, rhythmic movement patterns. We will work to strengthen, stretch and articulate the body through longer movement phrases, focused on weight shifting, changes of direction, and dynamic changes of energy. Prerequisites: None.

  • Terry Creach | FA2014 | MTh, 8:10AM-10:00AM | DAN2212.01
  • Terry Creach | FA2011 | TF, 8:10AM-10:00AM | DAN2212.01
  • Terry Creach | SP2012 | TF, 10:10AM-12:00PM | DAN2212.01
  • Terry Creach | SP2013 | TF, 10:10AM-12:00PM | DAN2212.01

Moving/Forming/Partnering

This beginning level course is for any students interested and/or curious about the dance-making process, whether or not they have previous dance experience. We will first work to develop physical awareness and physical facility and work to unearth movement ideas, images, and memories. In the partnering practiceswe will deal with many of the same questions found in Contact Improvisation that involve touch, weight taking and giving, momentum, force, and trust, but we will also attend to the forms, images, meanings and metaphors that emerge and work to frame those interests. We will develop improvisational scores as well as set pieces - solos, duets, and group works - giving particular attention to partnering skills and collaborative processes. Projects will be shown in both theatrical and site-specific settings. Corequisites: Dance Workshop (Thursdays 6:30 - 8pm), and Dance or Drama lab assignment.

  • Terry Creach | SP2013 | MTh, 2:10PM- 4:00PM | DAN2118.01
  • Terry Creach | SP2014 | MTh, 10:10AM-12:00PM | DAN2118.01

Music and Dance Collaboration

This course brings together intermediate and advanced chorographer-dancers with student composer counterparts, for a group of assigned collaborative projects. After some preliminary exercises and discussions, choreographers and composers will be paired off for three two-week projects that deliberately explore different ways of working. They will make a piece in which the dance is created first; another in which the music is created first; and a third in which they work entirely independently and only agree on the duration of their work. In the second half of the term composers and choreographers will work on a longer piece as a team, planning and creating the piece together from scratch. The course will include discussions and lectures on historical models for these approaches, and one paper. Music compositions will emphasize notation. Prerequisites: For composers: a previous composition and theory course, and permission of the instructor. For dancers: First Year Dance Intensive and permission of the instructor

  • Allen Shawn | SP2014 | MTh, 2:10PM- 4:00PM | DAN4132.01
  • Susan Sgorbati | SP2014 | MTh, 2:10PM- 4:00PM | DAN4132.01

Narrative Implications

We will be examining movement-based material and abstraction to identify and discuss frequently unacknowledged narrative implications and then harness those implications for use or disposal through the process of editing. Via these investigations of so-called movement-based non-linear performance forms the class will use/expand/detonate notions of character, story, emotion, mood and place. Warning: we will also reckon with extant text. This course will be held in the second seven weeks of the term; David Gordon will be teaching the first weeks of the course and Ain Gordon will then teach the remainder of the term. Prerequisites: None.

  • Ain Gordon | SP2012 | WF, 2:10PM- 4:00PM | DAN2130.01
  • David Gordon | SP2012 | WF, 2:10PM- 4:00PM | DAN2130.01

Performance Project: Adaptable Score

With new movement material crafted by both the instructor and the participants, we will delve into multiple variations of the phrases made, exploring the qualities, inherent technical challenges, spatial use, and timing. The final score will weave the developed phrase material with light, integrating both formal structural concerns and liquid interpretation. The new work will be presented in one of the end-of-term concerts. Prerequisites: By permission of instructor.

  • Dana Reitz | SP2013 | W, 10:10AM-12:00PM | DAN4679.01

Performance Project: An Exaltation of Larks

This performance project is inspired by James Lipton's book, "An Exaltation of Larks" and my emergent improvisation form, "Complex Unison". This project will involve several sections of ensemble inventions that also reveal solo, duet and trio compositions. This project will be in collaboration with visual artist, Jon Isherwood and lighting designer, Michael Giannitti. Admittance by audition. Prerequisites: Audition: Sunday, May 6, 2012, 6:30 - 8:30pm. VAPA Dance Studio E303.

  • Susan Sgorbati | FA2012 | W, 2:10PM- 6:00PM | DAN4104.01

Performance Project: Revisit

Students will begin working with materials and images from Souleymane Badolo's own movement style, working both inside and outside the Burkina Faso tradition. We will then develop new materials based on more recent research ranging from divination practices to "The Godfather of Soul," James Brown. This project will encompass different ways of thinking about movement. We will work collaboratively to develop six sections of movement material that can be randomly ordered for each performance. Prerequisites: Permission of the instructor. Auditions to be scheduled.

  • Souleymane Badolo | SP2013 | W, 6:30PM- 8:20PM | DAN4218.01

Projects in Dance/Tool Box

Students are invited to enter a two-part study that includes work to deepen and challenge compositional practices as well as develop a substantial dance project for the term. Classes include led improvisations and other compositional framing practices as well as in-class showings of works-in-progress (live or via video), discussions and critiques. Students are expected to show their work regularly throughout stages of development, complete their projects, and perform them to the public by the end of the term. Prerequisites: Intermediate/Advanced level work in dance. Co-requisites: Dance Workshop, Dance or Drama Lab assignment.

  • Susan Sgorbati | FA2013 | MTh, 10:10AM-12:00PM | DAN4483.01
  • Terry Creach | FA2013 | MTh, 10:10AM-12:00PM | DAN4483.01

Projects: Dance

For students with prior experience in dance composition involved in making work for performance. Attention will be given to all of the elements involved in composition and production, including collaborative aspects. Students are expected to show their work throughout stages of development, complete their projects and perform them to the public by the end of the term. There will be one meeting for the full group and then separate meetings for smaller groups TBS. Prerequisites: Permission of the instructor. Co-requisites: Students must also enroll in Dance Back Stage and must attend Dance Worksho.p

  • Dana Reitz | SP2013 | M, 6:30PM- 8:20PM | DAN4794.01
  • Kota Yamazaki | SP2014 | M, 6:30PM- 8:30PM | DAN4794.01
  • Terry Creach | SP2014 | M, 6:30PM- 8:30PM | DAN4794.01

Research & Practice in African Dance/Burkina Faso

Souleymane Badolo will offer investigations of his own contemporary dance forms as well as introduce students to some traditional West African dances. Additionally he will share his research into particular divination practices and ceremonies of Burkina Faso. Prerequisites: Permission of the instructor.

  • Souleymane Badolo | SP2012 | MTh, 10:10AM-12:00PM | DAN4308.01

Technique, Phrasing, and Performance

This is designed for those who have made dance work and are interested in further developing a sense of personal movement phrasing. Full attention is paid to detail, nuance, and finesse of any phrase material that is made. Students use phrasing as a way to explore compositional, technical and performance issues and consider how aspects of dance making, technique and performance directly affect and inform phrasing. Students are expected to create and develop new phrase material of their own, teach this work to others, and rehearse outside of class. Phrases may be combined into larger dance scores that are performed in dance workshops or studio showings. Prerequisites: Some previous experience in dance and permission of the instructor. Corequisites: Dance Workshop (Thursday 6:30 - 8pm).

  • Dana Reitz | SP2011 | MTh, 2:10PM- 4:00PM | DAN4321.01
  • Dana Reitz | SP2012 | T, 10:10AM-12:00PM | DAN4321.01
  • Dana Reitz | FA2013 | W, 10:10AM-12:00PM | DAN4321.01

The Body Acoustic: Toward a Sense of Place

How do we physically understand the spaces we are in? How is each of us affected by them? How do we develop a deeper sense of place? The Body Acoustic aims to heighten awareness of the reciprocal relationship between the built environment and our senses. Light and sound, distances, height, volume, surfaces, angles/curves and a/symmetries all affect our movement through interior and exterior spaces; our movement, in turn, affects the perception of these spaces. Using methodologies from visual and movement-based art forms, The Body Acoustic provides an opportunity for students of any discipline to engage in trans-disciplinary research and practice. Throughout the course, students will graphically articulate their experiences inhabiting multiple spaces (i.e. drawing, photo collage), design, and make simple situations/spaces to move through and will determine short scenes/movement studies to influence our sense of place. Students will form teams to complete short on-site exercises and will share results of other assigned exercises through discussion and presentation. Criteria for evaluation include participation in all class sessions and discussions, satisfactory completion of all assignments, and active participation in all reviews of student work. Prerequisites: None.

  • Dana Reitz | SP2012 | M, 2:10PM- 4:00PM | DAN2112.01
  • Dana Reitz | FA2012 | T, 2:10PM- 4:00PM | DAN2112.01
  • Dana Reitz | FA2014 | T, 2:10PM- 4:00PM | DAN2112.01
  • Dana Reitz | FA2011 | T, 2:10PM- 4:00PM | VA2112.01

Theater Projects

This course will provide a forum and mentoring for students involved in design and/or stage management production projects. It is open to students who have completed at least one course in design, or have completed or are currently enrolled in a stage management course. While productions will provide the context for most of the work, other assignments will complement the produced work. This course also includes the reading and the discussion of plays, and the exploration of solutions to more sophisticated design and production problems. The class meets weekly for group discussion of each student's work, as well as to address the other assignments given. Individual meetings may supplement the group meetings. Students should expect that the hours required to complete the work will not be equally distributed throughout the term; during production periods, much more intensive work is necessary. Students are encouraged to take this course for four credits, but may opt for two credits with a commensurate reduction in expected work. Students in the two and four credit section meet together weekly as a class. The amount of credit is based on project magnitude and duration. Depending on the College production calendar, students enrolled for two credits may be able to complete most of their work within half of the term. Prerequisites: One design or stage management course, or current enrollment in DRA2251 Stage Management Process.

  • Michael Giannitti | FA2011 | M, 8:20AM-12:00PM | DAN4110.01

Tsunami Wave Clouds: Metaphor, Body, and Text

This course explores movement, improvisation and text in order to generate patterns of discovery about our place under a sky filled with water. We will begin our search using clouds--from fair weather cumulus to tornado funnels--as our guides. We will find our own mysterious images, try to find the words and movements in order to develop short compositions in collaboration, and wonder at them. We will examine how they communicate, whether they are infused with meaning or not, whether they transport and transform us. We will begin with chaos, fear, and confusion, and hope to find convergences of the serious, the frivolous, the joyous and the consequential. For playwrights, dancers, actors, writers, and visual artists. Expect to research, create, collaborate, and perform. Prerequisites: Beginning course in Dance, Drama, Literature, or Visual Art.

  • Sherry Kramer | FA2012 | TF, 2:10PM- 4:00PM | DAN4180.01
  • Susan Sgorbati | FA2012 | TF, 2:10PM- 4:00PM | DAN4180.01

Working With Light

Lighting design has the powerful ability to shape the experience of an audience. Its practice incorporates elements of artistry and craft and should interest those working in all aspects of visual and performing arts. In addition to hands-on work with theatrical lighting equipment in and outside of class, awareness of light, play analysis and conceptualization, color, angle, composition and focus are explored in class demonstrations and in a series of individual and group projects. Some reading and short writing assignments are also included. Attendance at one Saturday afternoon session on September 29 is also expected. All enrolled should consider taking the companion course DRA 2235 Designing a Light Plot for a more comprehensive introductory lighting experience. Prerequisites: None.

  • Michael Giannitti | FA2011 | MTh, 2:10PM- 4:00PM | DAN2234.01
  • Michael Giannitti | FA2012 | MTh, 8:10AM-10:00AM | DRA2234.01
  • Michael Giannitti | FA2013 | MTh, 10:10AM-12:00PM | DRA2234.01
  • Michael Giannitti | FA2014 | MTh, 10:10AM-12:00PM | DRA2234.01

Working with Movement: Cinema & Dance

A hands-on seminar conducted by Elliot Caplan to teach film/video and digital arts as collaborative tools for exploration of movement in dance, theatre, and the visual arts. It is intended for those interested in developing their aesthetic of the moving image rather than learning primarily the technical aspects of filmmaking. We work to clarify space in the frame. The dynamic of the process is informed by observation and utilization of both small and large detail in the natural world. Movement of the body provides the context. Utilizing moving camera exercises, combined with selected film screenings and photographic and painting examples, students will have the opportunity to explore and refine their own visual sensibilities. Camera instruction will be integrated with charcoal drawing to more clearly and quickly illustrate visual points discussed in class. Students will work through a series of assignments using learned camera techniques to develop a new skill set, which can be applied toward the making of their own work.Lectures on filmic ideas, art history and contemporary thinking will be given weekly. Student work will be screened and critiqued. Prerequisites: None.

  • Elliot Caplan | SP2014 | T, 2:10PM- 6:00PM | DAN2116.01