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With the right timing, the right ”entrance” and the right
feeling for what is told, a simple somersault can be at least as efficient
as a double salto in a performance or in a narrative situation. We work
above all to to place the acrobatics in a scenic context. This means
that we work both to get the acrobatics to function as a bearer of the
story or as its own number a number of its own, where we work to make
it amusing, flowing and integrated in the rest of the plot and movement
patterns on stage. |
If
we have the time I start with teaching a training method where
we at the same time warm-up our bodies and work in physical contact
with very easy acrobatically or mutual exercises.
First I teach a few easier (the difficulty depends on the group)
acrobatic figures that we later use as common references. They
will also be the figures we continue to work from. Most of all
we work with acrobatics in pairs or with more persons. Depending
on the length of the workshop we gradually add more acrobatic
figures to increase the material we work from.
Entrances, timing and flows in the figure are some of the greatest
keys in order to make them look less clumsy or shaky. It is more
important to find a flexible flow than to do things as advance
as possible.
Another important part in putting the acrobatics on stage is reactions,
takes and turns. It is those things that help the acrobatics to
get a theatrical value, tell the story or take the plot further,
so that the acrobatics doesn’t just become empty ornaments. |
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The
goal with the workshop is of course to teach more acrobatics and to
get it to be a more flexible and tempered part of a performance, but
also to increase the participant's acrobatic imaginative power and understanding
of the possibilities and conditions for acrobatics on stage. |
Group: |
3 – 12 persons. |
Level:
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It
is important that the participants are on the same level. |
Length: |
We
will need gymnastic mats. |
Längd:
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By
agreement. |
Price: |
By
agreement. |
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