body, presence, permission, encounter,
A secret time, a place of intimacy.
Traces of orientation
“ My role, during a seminar, cannot be showing a way to dance, but I believe it should create useful stimuli for the evolution of a dancer, and that it can create an awareness of an essential knowledge that enables the dancer to be sensitive to the infinite facets of dance. I work on the quality of attention, on ridiscovering the reality of an act. It’s like understanding the intrinsic life of “movement”, that which sustains it and that which allows it to come into being. The simplicity of being able to react while not undermining ones own sensibility, distancing oneself from what’s happening around one. Educating oneself to “absorb” an action in its entirety, finding a sense of unity, of total attention.
The dancer is made aware of a sense of responsability, exposed to the risk of losing sight of himself while allowing himself time and error, and re-activating a constructive dialogue between ability and limits understood as values. In the time spent on improvisation, on a more personal level, the dancer is made to listen, learn, react, to “open up” and become susceptible to experiences, bringing into play his own desires and problems.. Words are not always sufficient as a guide and so concrete example and personal experience become the teachers of each individual.”