IADMS Madrid 2001   [back to the Category]

Continuous movement: The continuity of movement in the classical school   [read the french version]

Author :   Adela Molto Diaz, Esklepion

Continuous movement: The continuity of movement in the classical school

Adela Molto Diaz, Esklepion (Centro De Tecnicas Corporales Y Danza), Madrid, Spain

The classical dancer, as a general rule, is used to follow a spectacular choreography or a simple one or mechanical too, from the beginning of his/her development. He/she does not rule himself/herself by any rhythmic impulse, or by a “visceral” one; he/she follows a classical technique that trains and prepares his/her body for repeating and following a specific ‘Step.’
Material and Methods: Although choreographic method can be utilize (Directions and Classical Forms) for the knowledge of the Continuous, it is vital to take into account that: Inherent Visceral Rhythm in each person (dancer) is developed in Continuous Movement according to Structural Knowledge’s basic laws of the Classical technique, following, to keep time (to mark time) or making a parallel rhythm, in unison or at the same time, or by creating a new rhythm which is introduced in the initial music or initial rhythm. Because that movement needs from some technical mechanisms, that are completely linked to coordination (total understanding of the movement), to visceral rhythm and of course to musical rhythm too. For example, on time of using the intermediate steps as: the plies and all of the parameters as to equilibrium axis for forming “a figure” and therefore “a movement.” Continuity, not only as for chain but also as a link that creates movement (it does not join, it generates).
The Result: The Improvisation as to the understanding of the creative technique or dance method that requires the “Continuous,” as the study of Classical Method or Classical School (Complete understanding of Movement).
Once Visceral Rhythm has been assimilated, that is to say, when the study of the rhythm in each figure and choreographic step has been analyzed, understood and become an inner concept, and therefore its expression was an adjoining reflex, the two lines of movement (the choreographic one and the continuous) fuse generating the continuous movement as if it was an innate thing (natural and visceral) as a prayer or a word arising from the lips.
Discussion: I consider it would be a great help for pupils (dancers), teachers, choreographers, investigators, etc., to attend to an introductory and explanatory Dance Class of the “Continuous.” For larger pragmatism.