When observing classes I thought the reason
for the lack of performance may be due to the fact that every studio that is
used has no mirrors. The children are unable to see how they look or focus on
their facial expressions however when reading ‘The Eyes Have It” by Allegra
Kent I realised that mirrors are not necessary when you have the right
guidance.
“There are no mirrors in our studio, so
right away we go with how it feels, not how it looks. When Paul starts a work,
he’ll leave me alone and let me play and find my own way before he fills in
exact eye usage. As the piece progresses, he starts to edit and zero in on
specific eye advice. I follow the mood and the music and let them lead me. If
I’m looking at the audience, it’s directly at them; if Paul feels that it’s too
confrontational, his solution is to use the downcast gaze. I pick a spot on a
diagonal in front of me. It’s an inward gaze.” Annmaria Mazzini
Working with mirrors is not essential
however if a professional needs guidance then a group of young students are
going to need it too. What’s the best way to explore this with the students?
“Poets, artists, and children look into the
eyes for emotional meaning. Babies stare into their mothers’ eyes. It’s one of
their first major connections after the umbilical cord- their mirror into the
world. Of course, the eyes don’t exist in isolation. In dance, they complete
the line, the gesture, the tilt of the head, and the beauty of the musical
phrase” By Allegra Kent
From the results of the questionnaire it
showed that the majority of students thought that performance was the main
aspect of a dancer and that performance was what made a dancer stand out on
stage, I didn’t feel that this came across with in the class. I watched the
majority of syllabus classes which I found focused mainly on technique. I
discovered that in free classes in which the teacher did not do syllabus, did a
warm up, across the floor and routine the students relaxed and performed a lot
more. Could this have been due to the spontaneity of the moves? The change in
music? Or just a coincidence?
The school that I am working for does a
showcase for the students every two years, for just over a year they study a
syllabus solidly. I would like to do a little more research before I interview
the principle of the school. I want to know her views on adding a free class
for the students once a month to enhance their performance skills.
Hi Kimberley
ReplyDeleteAs part of my Inquiry I am experimenting with using Video Feedback for student self-evaluation and reflection. Perhaps if you could film your students rehearsal and show it back to them they will be able to see for themselves, and strive to make improvements to their own performance? Worth a try. This method is shown as being effective in Hatti's effect size chart.
Gemma
Hi your blog really interested me, it's such an interesting subject as where I am performing and teaching sometimes the mirrors are useful and other times they become such a distractment from the work that is needed to be done, I especially find with children if what you are asking them to do isn't prehaps copying or checking everyone is looking the same it's sometimes I good idea to shut the mirrors of as they can come a distractment.
ReplyDeleteYou talk a lot about the eyes and their focus and I believe this is such an import,ant aspect of performing as if children know where to put there eye contact it can change the picture you are wanting to create so much.
When I am teaching children I find mirrors are so important so children can see the shapes there bodies can create and sometime I find it can make them perform more because they can see what is being created mirrors can be a better way of showing rather than explaining because the picture is then in front of them. However it can throw the eye contact of as children then find themselves looking at the mirror, in factI have felt myself do this as well as a performer.
Working with children I feel sometimes they need a strong guidance so they know exactly where they focus needs to be as it can be confusing especially when they are concentrating on the way their bodies are moving as well. Would you agree?
Natalia x
Gemma, thank you for the advise, it is definitely something worth considering. I found it extremely helpful to video myself while in training.
ReplyDeleteNatalia, I would agree that it is extremely hard to get a happy medium. I think having the option for the mirrors would be the best, maybe mirrors with curtains to cover them. Then you would be able to chose whether you needed them or not. Unfortunately I don't have that option. At least without them the children will never rely on them.
Thank you both for your thoughts and views x
Hi Kimberly,
ReplyDeleteHow have you found the process of observation? Is it something you can see yourself doing again out of studying?
I found it such a useful tool to expand my ideas... I wondered if you do too?
This is an interesting post, as I have been looking at drama as a process and a product. There seems to be a real enhancement for the drama process at school. But with dance it's very different I suppose, in that, we judge a dancer on the product they present us with... Any thoughts?
Ahmet
Hello Ahmet,
ReplyDeleteFor me, observations has been the most useful inquiry tool. Not only has it assisted my inquiry but also gave me so many ideas for my teaching. Sometimes I found it hard to focus only on my inquiry topic while observing. I was continuously thinking how I liked that idea, words of encouragement, the music, things I would/wouldn't have done etc. I guess as performers we are always striving to improve and find it easy to watch, learn and take ideas from others.
"the product they present us with" is an interesting theory.
With my experience of acting (which isn't a lot) I think it is all about the process you go through to finally get to the product/performance. I was part of a performance of "Lilies on the Land" I had always struggled with learning lines and for this performance had many!
I took a different approach which was recommended by the director which was to become the character first, draw upon my experiences in life, hot seating, research the era, etc. The very last thing I did was learn my lines, normal in a state of panic it would have been first on my list but by that time they became natural to me.
With dancing I think this process is missed a lot of the time especially when following a syllabus. We can be so content with perfecting the routine that we just go over and over the dance/exercise. It may be spot on, with timing and technique but lacking the emotion. We forget to express where the movement comes from and how we got there.
Hope you understand? I always find it hard to get my thoughts on paper.
Kimberly x
I absolutely understand what you are saying. I think it might be a good idea that when rehearsing a dance the students can always try and evoke something new within the piece. This way they are looking to challenge their ideas whilst cleaning up a dance.
ReplyDeleteI wonder if this could work?
Ahmet