Daria Zielinska LSC Performing Arts 15/16: October 2015

Thursday, 29 October 2015

Musical Theatre: "Find a script and read it"

This time our exercise was to go to library and find a script for the next lesson. Our deadline for this exercise was on 29 September 2015. As the teacher said I went to library but I couldn't find anything what could come to my attention so I decided to check my books at home. In my home library I found book with monologs and duologues. I chose "The Marriage of Bette and Boo" - Christopher Durang.

Description of my choice:

*FIRST PERFORMANCES: New Your 1985

*AWARDS: Nominated for the Drama Desk Award for Outstanding New Play. Joan Allen nominated for the Drama Desk Award for Outstanding Actress in a Play.

*CHARACTER:Bette

*PLAYED BY: Joan Alllen

*CHARACTER'S AGE: Late 20s

*CHARACTER'S TYPE: She is a fraught mother, after one birth and two miscarriages.

*TIME AND PLACE: Now; Bettie's home in America.

*SITUATION: Bette is on the telephone, late at night, to an old school friend.

!At the moment I can't find the text of this scene on internet but I will try to photocopy from my book and paste here for you to have a look.

I really like this script and when I read it in the classroom I could really feel connection between me and this character even than my character is older than me and have package of survives which no one whished to have. Also I think it present a scene which may have not happened only once in our lives where we are forces to make a phone call to somebody just to talk out what's on your mind and get a little bit of understanding, or just forgetting the worries. What I want to say is that the scene and the text are so realistic that they make it easier for the actor/actress to get in the role with the character and in the situation.

Monday, 26 October 2015

Musical Theatre: " Preparing two songs for the showcase"

From last weeks we stared to learn two new songs which will use in our showcase in December this year. First song we learnt :"Freedom's Child" from Civil War Musical and "The Human Heart" from Once On This Island Musical.
Here you have more information about these two songs:

1)Civil War Musical :

Theatre : St. James Theatre

Opening Night :Apr 22, 1999

Total Performances :61

Larry Gatlin, Bebe Winans, John Ayres, Moses Braxton Jr., Mike Eldred, Steve Gannon, Dawana Gudger-Richardson, Keith Byron Kirk, Michael Lanning, Debra Winans, Royal Reed, Clay Roberts, Amy Rutberg, Roy Richardson Jr., Carolyn Saxon, Bart Shatto, Marlayna Syms

Director:Jerry Zaks

Choreographer :Luis Perez

Musical Director: Jeff Lams

Orchestration : Kim Scharnberg

Scenic Design :Douglas W. Schmidt

2) Once on This Island - is a one-act musical with a book and lyrics by Lynn Ahrens and music by Stephen Flaherty. Based on the 1985 novel My Love, My Love; or, The Peasant Girl by Rosa Guy, it is set in the French Antilles archipelago in the Caribbean Sea. The show includes elements of the Romeo and Juliet story and elements of the Hans Christian Andersen fairy tale The Little Mermaid. It concerns a peasant girl on a tropical island, who uses the power of love to bring together people of different social classes.

The original Broadway production ran from 1990 to 1991, and the West End production opened in 1994, where it won the 1995 Olivier Award for Best New Musical.

*Here is the lyric of the song:

"The Human Heart"

[ERZULIE]
The courage of a dreamer
The innocence of youth
The failures and the foolishness
That lead us to the truth

[ERZULIE]
The hopes that
Make us happy

[STORYTELLERS]

The hopes that
Make us happy

[ERZULIE]
The hopes that
Don't come true
And all the love
There ever was

[STORYTELLERS]
And all the love
There ever was

[ERZULIE]
I see this all
In you
You are part
Part of the
Human heart

[STORYTELLERS]
You are part
Part of the
Human heart

[ERZULIE]
You are part

[STORYTELLER]
You are part

[ERZULIE, STORYTELLERS]
You are part

[ERZULIE]
Of all who took the journey
And managed to endure
The ones who knew such tenderness
The ones who felt so sure

[ERZULIE]
The ones who
Came before you

[STORYTELLERS]
The ones who
Came before you

[ERZULIE]
The others yet
To come
And those who
You will teach
It to

[STORYTELLERS]
And those who
You will teach
It to

[ERZULIE]
And those you
Learned it from
You are part
Part of the
Human heart

[STORYTELLERS]
You are part
Part of the
Human heart

[ERZULIE]
You are part

[STORYTELLER]
You are part

[ERZULIE, STORYTELLERS]
You are part

[ERZULIE]
This is the gift I give
Through your love you'll live
Forever...

[ERZULIE]
Forever

[STORYTELLERS]
You are part
Part of the
Human heart

Forever

[ERZULIE]
You are part

[STORYTELLER]
You are part

[ERZULIE, STORYTELLERS]
You are part
Tonight
Tonight

[ERZULIE]
Part of the human...

[ERZULIE, STORYTELLERS]
Heart.

*Here you have a video to listen this song:

Homework:

Our homework is to learnt both these songs and practise them before next week. I really like these songs and I know I will memorise them very quickly . Also I think these two songs are very good choice for the showcase and I think people will also like them. They have very interesting lyric and history which want to convey.

Dance-" Preparing two dance choreographies for the showcase"

From last week we stared to preparing 2 dance choreographies for the showcase which will be on 4th December. We did one choreography for song from musical Fame -"Im gonna live forever" and another one is created for Bruno Mars song - "Uptown funk" . These two choreographies are in completely different styles what will makes our show more interesting and varied.

* Now I will give you more information about this songs and dance:
1) Fame -A stage musical based on the 1980 musical film Fame has been staged under two titles. The first, Fame – The Musical conceived and developed by David De Silva, is a musical with a book by José Fernandez, music by Steve Margoshes and lyrics by Jacques Levy. The musical premiered in 1988 in Miami, Florida. As Fame on 42nd Street, it was performed Off-Broadway at the Little Shubert Theatre on 42nd St from 2003 to 2004.
De Silva had produced the 1980 film about students at New York City's High School of Performing Arts. The critically and commercially successful film was followed by a six-season television series, and the musical. The musical is significantly rewritten from the previous adaptations, with an almost entirely new score. The film is referred to several times in the script and in two songs.
It tells the story of several students who attend the High School of Performing Arts, among them fame-obsessed Carmen, ambitious actress Serena, wisecracking comedian/bad boy Joe, quiet violinist Schlomo, "talented but dyslexic" dancer Tyrone, determined actor Nick, overweight dancer Mabel, and poor dancer Iris.
Since its first production, Fame – The Musical has had hundreds of professional and amateur productions in every major language.

*Information I took from: www.wikipedia.com

*Here is the lyric of the song :

" I'm goona live forever"

Baby, look at me and tell me what do you see?
You ain't seen the best of me yet
Give me time, I'll make you forget the rest
I've got more in me, and you can set it free
I can catch the moon in my hand
Don't you know who I am?
Remember my name

(Fame) I'm gonna live forever
I'm gonna learn how to fly (High)
I feel it coming together
People will see me and cry
(Fame) I'm gonna make it to heaven
Light up the sky like a flame
(Fame) I'm gonna live forever
Baby, remember my name
(Remember, remember, remember, remember)
(Remember, remember, remember, remember)

Baby hold me tight, 'cause you can make it right
You can shoot me straight to the top
Give me love and take all I got to give
Baby I'll be tough, too much is not enough, no
I can ride your heart 'til it breaks
Ooh, I got what it takes
Remember my name,

(Fame) I'm gonna live forever
I'm gonna learn how to fly (High)
I feel it coming together
People will see me and cry
(Fame) I'm gonna make it to heaven
Light up the sky like a flame
(Fame) I'm gonna live forever
Baby, remember my...
(Remember, remember, remember, remember)
(Remember, remember, remember, remember)

(Fame) I'm gonna make it to heaven
Light up the sky like a flame
(Fame) I'm gonna live forever
Baby, remember my...
(Remember, remember, remember, remember)
(Remember, remember, remember, remember)

(Remember my name)
(Fame) I'm gonna live forever
I'm gonna learn how to fly (High)
I feel it coming together
People will see me and cry
(Fame) I'm gonna make it to heaven
Light up the sky...

*Here you can have a look on this song:

2) Bruno Mars - Peter Gene Hernandez (born October 8, 1985), professionally known by his stage name Bruno Mars, is an American singer, songwriter, record producer, voice actor and choreographer. Born and raised in Honolulu, Hawaii by a family of musicians, Mars began making music at a young age and performed in various musical venues in his hometown throughout his childhood. He graduated from high school and moved to Los Angeles to pursue a musical career. Mars produced songs for other artists, co-founding the production team The Smeezingtons.
Mars had an unsuccessful stint with Motown Records, but then signed with Atlantic in 2009. He became recognized as a solo artist after lending his vocals to the songs "Nothin' on You" by B.o.B, and "Billionaire" by Travie McCoy, which were worldwide successes, and for which he co-wrote the hooks. His debut studio album, Doo-Wops & Hooligans (2010), was anchored by the U.S. Billboard Hot 100 chart-topping singles "Just the Way You Are" and "Grenade", as well as the number-five single "The Lazy Song". His second album, Unorthodox Jukebox, was released in 2012, peaked at number one in the United States. The album spawned the international singles "Locked Out of Heaven", "When I Was Your Man" and "Treasure".
Mars has received many awards and nominations, including two Grammy Awards and was named one of Time Magazine's 100 most influential people in the world in 2011. In December 2013, he was named "Artist of the Year" by Billboard and ranked number one on the Forbes 30 under 30 list. Throughout his singing career, he has sold over 100 million singles and albums, making him one of the world's best-selling artists of all time.However, as a performer, writer and producer his total sales surpass 130 million singles. Five of his singles are counted among the best-selling singles of all time. Mars has landed 5 number-one singles on the Billboard Hot 100 since his career launched in 2010, faster than any male singer since Elvis Presley. In total, he has had six number-one singles on the Billboard Hot 100.
Mars is known for his stage performances and retro showmanship. He is accompanied by his band, The Hooligans, which besides playing a variety of instruments such as electric guitar, bass, piano, keyboards, drums and horns, also serves as dancers and background singers. On stage, Mars is able to sing, dance and play a wide range of musical styles, including R&B, reggae, and soul music.

*Information I took from: www.wikipedia.com

*Here is the lyric of the song:

"Uptown Funk"

This hit
That ice cold
Michelle Pfeiffer
That white gold
This one, for them hood girls
Them good girls
Straight masterpieces
Stylin', while in
Livin’ it up in the city
Got Chucks on with Saint Laurent
Got kiss myself I’m so pretty

I’m too hot (hot damn)
Called a police and a fireman
I’m too hot (hot damn)
Make a dragon wanna retire man
I’m too hot (hot damn)
Say my name you know who I am
I’m too hot (hot damn)
Am I bad 'bout that money
Break it down

Girls hit your hallelujah (whuoo)
Girls hit your hallelujah (whuoo)
Girls hit your hallelujah (whuoo)
‘Cause Uptown Funk gon’ give it to you
‘Cause Uptown Funk gon’ give it to you
‘Cause Uptown Funk gon’ give it to you
Saturday night and we in the spot
Don’t believe me just watch (come on)
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Hey, hey, hey, oh!

Stop
Wait a minute
Fill my cup put some liquor in it
Take a sip, sign a check
Julio! Get the stretch!
Ride to Harlem, Hollywood, Jackson, Mississippi
If we show up, we gon’ show out
Smoother than a fresh jar of Skippy

I’m too hot (hot damn)
Called a police and a fireman
I’m too hot (hot damn)
Make a dragon wanna retire man
I’m too hot (hot damn) (hot damn)
Bitch, say my name you know who I am
I’m too hot (hot damn)
Am I bad 'bout that money
Break it down

Girls hit your hallelujah (whuoo)
Girls hit your hallelujah (whuoo)
Girls hit your hallelujah (whuoo)
‘Cause Uptown Funk gon’ give it to you
‘Cause Uptown Funk gon’ give it to you
‘Cause Uptown Funk gon’ give it to you
Saturday night and we in the spot
Don’t believe me just watch (come on)
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Hey, hey, hey, oh!

Before we leave
Imma tell y’all a lil’ something
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up
I said Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up

Come on, dance
Jump on it
If you sexy then flaunt it
If you freaky then own it
Don’t brag about it, come show me
Come on, dance
Jump on it
If you sexy than flaunt it
Well it’s Saturday night and we in the spot
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Don’t believe me just watch
Hey, hey, hey, oh!

Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up

*Here you can listen this song :

Homework:
Our task was this week to memorise the lyric of the first song( Fame -"I'm gonna live forever") and practise two dance choreographies for both songs to be ready after half term for the next lesson. Also I will try to put the videos during this week for you to give you idea of what we doing on lessons.

What I need to work on :
I need to work on second choreography because I found this dance more difficult than the first one .I have to work on my timing in this choreography, I need to memorise some steps in order and be more relax while I dance this choreography.

Dance:"Ballet Class"

Ballet

Classical dance (academic) is a specific form of dance, also known as ballet. The difference lies in the fact that the term refers to a ballet performance held at the scene, while the deadline for classical dance refers to the technique, which uses the dancers.Classical dance is derived from the Renaissance court dances improved at the court of Louis XIV, who developed the first professional choreographers and teachers. Then ballets were based primarily on combinations of steps from the basse dance, pawan and minuet. Women's dresses were so hard and long that prevented too complicated leg movements ao skipped in general there was no question, therefore solos performed mostly by men. Only La Camargo on 5 May 1726. Shortened dresses by a few centimetres and the first on the scene lifted into the air, enriched the dance, but at the same time caused a scandal. After the French Revolution, the Paris Opera costume designer Maillot, invented the vests, which contributed to the further development of the technique of classical dance, already based on the five positions of the feet with your feet slightly wrung out.The principles of classical dance based on a codified aesthetic canons of classical ancient art of Carlo Blasis in Traite Elementaire, theorique et pratique de l'art de la Dance (1820), creating a system of carefully designed body movements, marked with French terminology. They brought it to perfection in the Romantic period, when dancers started to use stiffened ballet shoes called morals by which they can climb to the tips of his fingers. Theatrical form of classical ballet, formed in the nineteenth century. Lies in the ranking of fixed patterns, performed the classical technique.The largest contribution to the improvement of modern techniques of classical dance brought Enrico Cecchetti and Agrippina Vaganova.The most famous ballets, which use the technique of classical dance are: Tchaikovsky's Swan Lake, Giselle A. Adam, A. Khachaturian's Spartacus, Coppelia L. Deliba, LA Minkus' Don Quixote, Romeo and Juliet by Prokofiev and Chopin sylph .The most famous classical dancers include: Vaslav Nijinsky, Rudolf Nureyev and Mikhail Baryshnikov. For dancers: Carlotta Grisi, Marie Sallé, Marie Camargo, Fanny Elssler, Marie Taglioni, Anna Pavlova, Galina Ulanova, Maya Plisetskaya, Margot Fonteyn, Alicia Alonso, Carla Fracci, Natalia Makarova and Sylvie Guillem.

*Here I'm pasting two videos. The first video is showing warm-up exercises which I use to prepare my body for technical exercises and for dancing itself. On other hand the second video is concentrating on the correct footwork and shoulders movement. Due to these videos I'm able to practise at home the exercises we do in class and therefore work on improving my technique.

*This is video number 1- Warm-up exercises:

*And here is video number 2-Technique exercise:

Here is some explanation of ballet vocabulary:
1)Chasse-A ballet movement consisting of one or more quick gliding steps with the same foot always leading(to slide).

2)Tendu- Of or relating to a movement that is stretched or held(to stretch).

3)Attitude-An attitude in classical ballet is a position where the dancer is standing on one leg with the other lifted, usually to the front (devant) or back (derrière). The leg in the air is bent at the knee so that it forms roughly a 145 degree angle.

4)Arabesque- A pose in ballet in which the dancer stands on one leg with one arm extended in front and the other leg and arm extended behind.

5)Port de Bras- The technique of moving the arms properly(carriage of the arms).

6)Adage-A French word meaning gently, or at ease. Adage is a series of slow, controlled exercises or movements performed to slow music(slow movements).

7)Position of the arms :

Homework:

Our homework for this week was to describe Port de Bras exercise . Above I put some information already about this but here I will explain more. Also we have to memorise all exercises and learn them for the next lesson as the little ballet choreography as well . Therefore we have to prepare our ballet exercise which we could use to warm up before lesson.

What I need to work :
I need to work on this all exercises and correct/improve those which I'm struggle with . Also I need to work on my arms to make them stronger and keep them in nice shape and correct place. I have to work on my feet place as well.

*Port de Bras - is a classical ballet term meaning “movement of the arms.” It describes how dancers move their arms from one position to another.
For example, if a ballerina moves her arms from first position to fifth position, that is considered a port de bras.
When doing proper port de bras, dancers will move their arms from their back and shoulders (without lifting the shoulders awkwardly upwards) while trying to move as smoothly as possible. The shape of the arms should be rounded so there is no visible break at the elbows and wrists. In classical ballet, the arms should never be fully straight or hyper-extended at the elbows. Also, the hands should be shaped with the fingers extended running mostly in the same direction, but not stuck together like a paddle or overly extended.
In contemporary ballet, there are many exceptions to the rules of port de bras, but generally port de bras should always look coordinated with the lower half of the body and still look balletic in nature (meaning, not raising the shoulders awkwardly or having excess tension in the arms) unless instructed specifically to look different or to make a certain shape requested by the choreographer.
While the term does mean movement of the arms, port de bras also includes the position and movement of the head in relation with the arms. The movement of both the arms and head are considered a package deal for almost every ballet step.
Port de bras is harder than it looks on paper. For all dancers, mastering port de bras takes several years of practice, with some professionals still practicing to achieve beautiful movement in their arms.
(Information derived from BalletHub)

Sunday, 18 October 2015

Musical Theatre :"Notes - the core values of the rhythmic notes"

Notes :

The core values of the rhythmic notes

Note - this is a graphic symbol musical sound. Note the bell duration (the length of a rhythmic values) and its height. The first lesson concerns the length of the sound or the rhythm. The most basic notes are: whole note, half note, quarter note, eight, and sixteen.

Semibreve (Whole Note)-The whole note is the longest rhythmic value, counts her to "4 and" and specifies the following symbol:

Minim (Half Note)- minim as the name suggests is a whole note or half expect her to "2 and". Half note sets out the following graphic symbol:

Crotchet(Quarter Note) - A quarter is a half minim, or if you prefer a quarter of a whole note. Crotchet count to 1 and represents the following figurative mark:

Quaver (Eight Note)-Eight said the easiest way is half the length of a quarter note, we expect it to 1 (now without and, 1 and it would be the length of a quarter note). Eight were represented by the following graphic symbol:

Semiquaver (Sixteen Note)-Sixteen is one of the shortest of rhythmic values, it takes as much as half of the eight. It is difficult to say how to count, we simply feel the music. With time playing other rhythmic values we learn to sense the length of sixteen. Sixteen graphic symbol is as follows:

Bearing in mind that one sixteenth take as much as half eight, we can easily calculate that 4 sixteenths last as much as one quarter. So 4 sixteenths count as time and.

*Here is the picture of notes which describe below:

Also we learnt what and where is clef, key signature, time signature, staff and treble. All these things you can find on this picture:

*In this picture you can see the name of each line and position of notes on them.

*Also we practised a Major Scale:

1) DO-RE-MI-FA-SOL-LA-TI-DO

2)Descending:

DO-TI-LA-SOL-FA-MI-RE-DO

3)Combined (Ascending and Descending):

DO-RE-MI-FA-SOL-LA-TI-DO-TI-LA-SOL-FA-MI-RE-DO
1 2 3 4 5 6 7 1 7 6 5 4 3 2 1

We did some exercise like:

1) Singing the pitches that correspond with the following syllables e.g. :

DO-RE-MI-FA-SOL-LA-TI-LA-SOL-FA-MI-RE-DO
1 2 3 4 5 6 7 6 5 4 3 2 1

2)We practised singing a Major Scale using each syllable and its corresponding hand sing:

3) We had to write in the counting, clap and count the rhythm and in the end play as well:

4) Also we had to sing and corresponding syllables for each exercise:

My comments :
I'm really enjoy this lessons because finally I will know notes and how to read the music sheet . This will help me to better understand music and also will help me with singing. If I learn how to sing from notes I will could sing better than before because I will know how the all music is play. Also this could help to know when and where I have to start and stop sing.

Musical Theatre:"The importance of movement in human life on the example of the method of Rudolf Laban and Veronica Sherborn'e"

The importance of movement in human life on the example of the method of Rudolf Laban and Veronica Sherborn's.

RUDOLF von LABAN was born in 1879 in Bratislava. He died in 1958 in Addlestone. Initially a painter, gymnast, then a dancer. First he founded his dance school in Switzerland. After World War I moved to Germany where he was a proponent of dance liberated, a prominent choreographer and creator of the modern cinematography. Be the first to observe natural human capabilities and put them in a special physical scale- which showed that all the possibilities of human movement formed what is the ideal body of a bullet. Since that time began to emerge "Laban's canters" in which dancing was considered as a form of educational impact. In 1938. For fear of reprisals R. Laban moved permanently to England and devoted research in the field of motion analysis. Proposed by Laban system of symbols movements has become a universal language of contemporary cinematography. R. Laban died in 1958. Leaving a huge legacy in the field of studies of traffic and modern style of his writing.

In the method of R. Laban and Sherborne we distinguish several categories of movement: - traffic that leads to knowledge of one's own body (a special attention is paid here to the feet, knees, legs, hips- because they underpin the weight of the body and control of movements of these parts determines the body to maintain balance)- Traffic shaping relationship with the environment physical (the goal is to develop orientation in space and on the basis of the formation of the relationship between man and what surrounds it. At this stage, physical exercises are held as low as possible.- Movement leading to the formation of a relationship with another man (make contact, build trust /Confidence- fan- frolicking) in this category can be divided by type of traffic.- Movement "with" (exercise. Movement in which one partner is active 2 guardianship)- Movement "against" (exercise. Movement, which are designed to make participants aware of their own strength. There are fun to mount, pushing, wrestling. They have character pseudo-agressive allowing children to know their own and others' responses, learn coping conflict, realize emotions)- Movement "Together" (exercise. Requiring equal involvement of partners, lead to the formation of harmony and balance.)- Movement leading to the teamwork (exercise. Delivers to 3, and then the whole group. Here, too, there is a movement "of against time")- Creative movement (features of this movement are: the spontaneity of freedom)

Laban recognized the following aspects, which can be used for traffic analysis:
1. Characteristics of motion: for, which consists of energy networks, fluidity, space and time;
2. The directions of movement: high-low, from side to the side, back-front;
3. Relationship with gravity: heaviness - lightness;
4. A compound with a partner and group; "against", "together" - 3-4 persons group

WERONIKA SHERBORNE -She lived in the years 1922-1990 was trained as a teacher of physical education and physical therapist. She worked as a therapist or physiotherapist- movement. She collaborated with Laban. In the 50s he came into contact with mental disability issues and this caused that began to develop his own method of impact on mentally disabled children and educate teachers in this regard. The origins of Sherborne method derived from the theory of Laban. Many, however, brought to Laban's theory, developing it toward the humanities. We see her holistic human person is the centre of attention. She pointed out the need to develop close ties between people, important for the development of the child's personality, underestimated and not implemented in education.

METHODS ASSUMPTIONS

Developmental Movement Method was developed in the years 50-60. Over the past 20 years the method Sherborne became part of the therapies children with disabilities and supporting the development of children without the disorder (there is better communication and a better knowledge of themselves).The method is recommended to support and stimulate the development of children, youth and adults physically handicapped and mentally. Increasingly, Developmental Movement sessions are run for adults residing in nursing homes. In his work can apply this method: therapists, educators, psychologists, social care workers, parents and all who work for the disabled. Developmental Movement Method early sitting refers to the human experience using touch, movement, relationships physical, emotional and social to spread awareness of self and deepen contact with other people. The method refers to the most primary means of communication, which is the "body language". Developmental Movement gives you a chance to make up for the stage "romping". We can categorize her non-verbal interpersonal training (for the processes taking place in the group).

*Developmental Movement Method can be used as a method:

Therapeutic - working with children with impaired psychomotor development and, above all, in the case of mental retardation. Also for the children of the. Intellectual standard, manifesting disturbances in the range of emotional and social. This method is sometimes used as a preliminary step to other therapy classes, for example. Children who have difficulty in reading and writing, in the treatment of psychological and speech therapy for children who stutter or psychotherapy of neurotic children.
•Supporting development (it stimulates) - useful in working with children who are in institutions of collective education.
• Preventative - as a form of assistance to children, adolescents, adults in difficult situations.
•Unbend on schoolwork, relaxing activities for example parents.

*Here is the table of all movements name :

Name:         Space:     Weight:      Times:
Pressing        D               H                 S
Wringing      I                H                 S
Gliding         D               L                  S
Floating        I                L                  S
Punching      D              H                  F
Slashing        I               H                  F
Dabbing       D              L                   F
Flicking        I               L                   F

D-direct, I-indirect, H-heavy, L-light, S-slow, F-fast

Space- direct/indirect

Weight-heavy/light

Time-slow-fast

Flow-bound/unbound

My comments:
Our exercise was to do all this movements name in different space ,weight and time to check how does this exercise work and how we going to feel in the end of the lesson. Is something going to change and could we see any differences from the beginning and in the end.. Personally I found this exercise quite funny, of course in a good way. It was the first time where I could play around with my body, make different various transformations , combinations and have fun at the same time. But also I found this exercise quite useful because in the end of this session I saw that I could express my character's emotion easier than before, this help me to relax my body and open my mind more even if we were doing crazy stuff around us..

Daria Zielinska LSC Performing Arts 15/16