Friday, January 30, 2015

Dance Training Journal 4: 1/28/15

Dance Training Journal 4: 1/28/15

We started practice today by going over our "personal zone". This was a very important review, as by going over it, we were able to discover our "comfort zone" which became important later this practice. In the personal zone review, which had us following and trailing other dancers to maintain a distance from them that felt safe to us, I was able to note where mine currently is. It seemed to me, that i really felt the most comfortable in "Issoku ittō-no-maai" which is a Kendo term for "one step, one strike distance" Essentially it is the Kendo term for the distance between two sword wielding combatants, where one is currently OUT of striking distance, but may accomplish a strike with a single step. Considering that I am bringing primarily my decade of Kendo experience to this dance class, this seems entirely logical that i would default on that distance.

Next we did some "motion idea's" this exercise was accomplished by Robin telling us a basic idea like "stretching" or "swinging" for us to base our motions on. We would then do that, and then for the next stage she would have us "mix" two or more forms of motion simultaneously, like "stretching and swinging" or "walking and twisting" etc. I was really surprised by the amount of "range of motion" this opened up in me, just by having me try new combinations of things I already knew how to do. It is also noteworthy, that sometimes I would see one of my classmate's motions and be all "I wanna try that". 

Next we discussed "what makes motion" as a class. We talked about ideas like music, environment, inspiration, imitating people, animals or objcets, our own senses, the "center" of our body/breath, our memories, our emotions. It seems like there isn't much reason to NOT be able to move, in any given moment, a person who WANTS motion should be able to have something, from somewhere.

Next, we did some group work. We paired up, and then went to the floor in small groups. In small groups we practiced full mirrored, group work. First of all, it was a blast! I saw other groups do some insane, beautiful, gutsy stuff that you would SWEAR was planned, but wasn't. Each group, seemed to have a unique energy and 'take' on the same music, even across multiple dances with the same groups, and same music. I noted that there was a LOT of room for bold improvisation in this format, and that our groups seemed to have a high tolerance, and capacity to work with it, in real time.

Wednesday, January 28, 2015

Dance Training Journal 3: class on 1/26/15

Dance Training Journal 3: class on 1/26/15

The group "copy/mime" activity was a lot of fun. One thing I noted was that it was difficult to gauge what the OTHER dancers were/were not capable of and that it was vital to see the realtive positions of footwork to effectively copy certain steps.

The mirroring with successive delay exercise was nice. It was pretty novel to be able to do mirroring with "time lag" I did notice that my partner of the day was not as comfortable taking the lead as I was and passed it back often. It was also interesting how she "mirrored" us so that we had a greater distance between each other, which helped her due to our height/size differential. Our goal was to lead and follow with total personal confidence, and overall that worked pretty well

in the "reality of self" meditative practice, i did feel a greater connection to my body/emotions. It was interesting, as much of the class reported that theiy were usually very neurotic persons that have trouble "letting thoughts go" it was also helpful to be able to feel the weight of our own bodies, and learn to make more sense of them.

The spontaneous dance exercise with a african drum moving us to the beat was a blast. I seemed drawn to scatter around lots of fun ways from it. One thing i noted was how the starting stance i picked hi, low, or medium would have a large impact on what moves I was able to USE.

During the group portion of this dance, I started to "hunt" a fellow male class member. It was pretty intuitive as just keeping footwork distance from him was old hat after college.  I also noted that while dancing, i was trying to "Lock in" to certain moves, but i was only able to do them on the fly, as opposed to pre-plan.




Dance Training Journal 2: 1/24/15

Dance Training Journal 2: 1/24/15

Senior Dance Project auditions

Advice from Don Mandigo

-always audition-

Stage one - pre audition warm-ups-

The dancers, while participating in idle banter/chatter about how hard/scary auditions were, seemed mostly laid back. I saw a few doing basic stretches but with only a few exceptions most of them did not take advantage of the open movement studios for personal warm-ups.

Stage two -Actual warm-ups-

Once we started the auditions we were guided through a series of "warm ups" It was mostly basic cardio/flexibility stuff. Lots of jumping jacks, hopping, stretching that sort of thing. It was very legwork focused, and I was able to keep up QUITE well at this stage of the auditions. There wasn't much that required any upper body strength, other than 10 pushups.

Stage three -Dance routines-

Our choreographer's ran us through three dance routines. We learned one or two moves, then practiced them, then added 2-3 more and repeated until they thought we were ready to go through whole routine as a group. After that we did it as a full group to music, before going in small groups, twice each to gauge how well we had learned as individuals.

I noticed that some of the types/styles "fitted" me better than others. It also had a rather SEVERE learning curve, many of the moves at this point I had never seen before, and I did not know the most basic of terms.

There was a lot of emotional pressure to do things right, that interfered with performance. Once you start making mistakes it's hard to regain/maintain composure.

required lots of breath control, pacing, timing and morale control to keep up.

almost no males there, as long as I can learn the basics better I should be able to be cast by doing similar auditions in the future.

I also noted that many of the other dancers had similar troubles to myself, and that many of them were so mired in technical limitations, that they were unable to be expressive simultaneously.

Acting Journal 3: 1/27/15

Acting Journal 3: 1/27/15

On 1/27/15 Don lead the class through additional alexander technique, increased the level of detail of the discussion, as well as teaching us two new exercises, the "rope exercise" and the "mirroring Exercise" We also repeated the "circle of energy" exercise, as well as some practice for the "Henry V" battle of agincourt monologue.

As usual, I found the Alexander technique breath practice incredibly relaxing. I brought a proper towel today, and while i needed to fiddle a bit to support my neck in a neutral position, it was worth the effort. Don discussed with the class how important it is to have our "lumbar region" in proper posture, as well as explaining that deep breaths trains chest muscles that otherwise would not develop on their own.  We did some more pronunciation practice, although I'll admit i could use a hand-out to keep track of the terms we are using for it.

Next was the group practice of the "Henry V" monologue. At this point, he assumed we had understood the intent of the words, and focused on our pronunciation of the monologue. He also emphasized that in coming classes we would need to have a personal "interpertation" of the monologue ready. He suggested finding the right words to pause on, to show their emphasis of being more important. He also strongly, strongly demanded that we "learn" the monologue rather than "memorize it". We need to "practice as we perform" on this, or it will do no good.

The object of the tug of war rope exercise, was for the group split in two, to hold an imaginary rope, play tug of war, and convince the audience (our professor don) that we were holding a REAL rope. It was pretty simple, the lead in each line initiated the major actions, and kept an even spacing with each other. As actors in the line, we were to touch elbows to the person in front of us, and match their motions. It worked really well, I enjoyed it a ton.

The mirroring exercise was remarkably simialar the mirrioring exercises I have been doing in my imrpov dance classes. To the point that just having us line up and make eye contact initiated the exercise for my partner and I . It was a bit different, because with less motion, and more focus on eye/breath connection, we were able to syncrhonize in different ways than I had in dance class.

The round robin, "energy exercises" are going well. With few exceptions the group seems to be "getting" how to do it, and doing it well. I also noticed that initially the group was doing primarily "Cheery" and "peppy" names, but when on occasion I would add something new to the mix, like physical intimidation,  or acting like a sad 5 year old, that those new emotions quickly made it into the group's collective vocab.

To end the class, Don related to us how our failures are more valuable than our successes as actors and that we should push ourselves to fail more often, to learn. I agreed, although while talking between Don and I, it was concurred that I had figured that out in my life history earlier, and that technique training was more relevant for me to receive from Don, than that "extra push"

Thursday, January 22, 2015

Acting Journal 2: 1/22/2015



 Acting Journal 2: 1/22/2015

Reflection on Introduction to “Alexander technique”

First of all. I had a blast! Before even getting to school this morning, I was psyched for my first ‘real’ acting class today. I got up before the alarm, in fact at 7:30 I kinda just “snapped” awake super excited like “GOTTA GET UP TO DO AWESOME!” After doing some vocal training on youtube/ basic exercise (100 free squats 15 hindu pushups, and some “wall walking” and stretches I went to class.

Was running a tad late, so I skipped breakfast and went straight in. As we started our warmups on the mat, I was NOT surprised when the firste element of “alexander technique” was deep breathing exercises. After all I’ve spent 10 years studying martial arts, it just kinda makes sense to start there, at this point. The deep breathing exercises were familiar (breath in more than you think you can, then exhale in a relaxed often yawning manner). Which helped. With how much breath control training I’ve had in the past, I really got super-relaxed during that part.
We then did some breathing/clenching exercises that accentuated the shoulder’s/fists. I’ve heard in the past that tensing then releasing a muscle group is a way to relax it. This seemed to do just that.

We did some basic vocal warmups. I rather enjoyed them. Apparently vowels determine vocal quality, and consonants are needed to MAKE words. Don noted that I have a tendancy to constrict my throat when speaking, and explained I should have a open airway and that I should try to talk with my entire face moving to the sound. Gonna work on that. I figured since, that my tendancy to do so, is partially because tightening my throat, reduces the inner diameter of the throat, which increases the air inside’s “flow rate” (thanks hydraulics 101 with professor blickewedhel”) I’m under the assumption that my instinct to DO that comes from the fact that I very, very much desire(d) to be heard over the other students…. I am a bit of a show off. My idea to counter is twofold. On the technical end, I do need to be mindful of when I am constricting my throat, and learn to let it be relaxed instead. On the personal end, I need to acclimatize myself to the idea that:

A.  People do in fact WANT to hear me. I don’t need to talk over them, or “force” them to listen
B.  I will be more successful in being “heard” if I listen/respond/resonate, than if I try to “overpower” my audience.
C. Emotional resonation, is actually a strong suit of mine. It should be my preferred option to begin with.

During the name/gesture group energy round (by the way. ANIMO!) I noted that it was a lot of fun, and there was a TON of creativity in the room. Upon leaving I really just wanted MORE. In fact, I said that so we started on the Shakespeare “battle on st crispin’s day bit.”

Again, I constricted my voice in an effort to be “heard” and “louder” which were not the intents of the exercise. On the plus hand, I did get the dialogue well, and rather enjoyed it.

After class, I chatted with Kaitlyn, and a classmate from the course during lunch about it. My classmate mentioned he stuggled with projecting, so Kaitlyn and I suggested he practice by:

A.  Reading out loud. Often
B.  Practicing the alexander technique exercises daily
C. Tell stories in “group settings” Even boring ones

We also did a “free-form” improve RP session to put his storytelling to work. Was a ton of fun.
On my end, Kaitlyn noted that I’m not QUITE on key when it comes to singing. (in my defense, I’ve NEVER been trained musically PROPERLLY and my local congregation put in a TON of super bad habits.
She and my classmate recommended that I:
A.  Find a youtube video where they INTENTIONALLY change keys
B.  Listen, and replicate the key change
C. Do a different piece in the ONE and ONLY key right.
D. Rinse lather repeat, till I learned how to sing in key.
I’m feeling really pumped here…. Like I can finally get good at things that I have wanted to get good at all my life.

Acting Journal 1: 1/20/2015

Acting Journal 1: 1/20/2015

Reflection on my walking patterns.

In general, I have three basic walking patterns. They are normal (flat footed), on the balls of my feet, and when carrying large burdens. I typically find myself walking flat footed most of the time, but due to my martial arts training, will often walk flat-footed in order to train balance and leg strength. My motivation to walk while carrying heavy burdens, is typically to transport supplies/books, or on occasion for training/conditioning.

Flat-Footed walking
When I walk flat-footed my feet generally strike the ground near the middle of the foot. I often walk or dance barefoot, so I have a high degree of sensitivity to the surface of the ground when walking. I often notice things like the feel of the ground, whether it is even, uneven, springy, or rocky. Having experienced traversing over nearly every common surface, I can tell a lot about where I am, just by using how the ground feels. A dip in elevation, a change in consistency, can quickly tell me if I have left a path, and say, wandered onto the grass. In fact, I on occasion practice walking and navigating with my eyes closed, relying on my sense of touch and timing to “guesstimate” where I am in my physical environment.
        I am often barefoot, and in fact love the feel of a good dew under my feet. Since feet have an very large amount of nerves, I actually derive great pleasure from walking places barefoot, and due to my years of walking/martial arts training, I need only minimal actual protection on my feet in most situations.  Primarily, I do need footwear when in extreme cold, I prefer it in extreme heat, and I am required to wear it in construction areas. Other than that, I will go barefoot there. I love say traveling through a nature trail barefoot, I get to feel the mud, the rain, and the soil, in-between my toes. It makes me very happy, and very connected to my environment to be able to touch the ground directly.
        There are also many situations, where due to wet footwear, I feel it is more prudent to be barefoot than to wear shoes. Honestly, I find wet shoes more uncomfortable than anything I am likely to encounter barefoot, other than freezing cold.
        Since I am used to, and enjoy walking great distances, while walking my mind often wanders to the beauty of the world, or daydreams. I also practice whistling, or light balance/strength training by holding things up while walking. The infrequent 10-25 mile hike is one of the highlights of ANY vacation time that I have.

Ball of the foot walking.
In contrast to flat-footed walking, Ball of the foot walking I do less frequently, and for different reasons. Typically I walk on the balls of my feet in order to practice/condition my legs for martial arts/dancing. When I do so, my balance, and center of gravity shifts. Generally what happens, is that I lift both back feet off of the ground, so that each heel is about a quarter of an inch off of the ground. I then start walking. However, when doing so, since my center of mass shifts, this typically necessitates both changing the length and slightly curving my stride. This adds an extra “swagger” around my hips, as they sway side-to-side to react to the changes in motion from my feet.
        Typically my ball of the feet walking is about as fast, if not slightly swifter than my standard flat-footed walking. However, it works additional ankle muscle groups harder than normal, and thus is more exhausting/less sustainable than my standard stride. However, despite the fact that I do not do long walks under these conditions, short walks of between 1-3 miles are quite feasible during this form of stride
        One of the other things of note, during this form of stride, is that while my heels have no weight directed unto them, by default, they still often touch the ground as weight shifts onto them, on the bottom of the step. This is actually considered a “feature” as it allows for a certain amount of “spring” to be put in my step, and as my heels are not locking down into the ground/cancelling my momentum, this allows for less momentum loss overall on my system as a whole, for as long as my ankle strength is able to sustain the additional load.

            Walking under heavy load
Ever since I lugged around 70lbs of Sunday specials, for my paper route as a teenager, I have been used to carrying large burdens while on my feet. Presently this often happens when purchasing groceries at local stores, when travelling to school with a fully loaded book-bag, or when training with additional weights.

        Carrying large amounts of groceries, is primarily an exercise in weight distribution. Typically when I bother to have my green army duffel on, it’s fairly simple to put the weight up there, and walk home, albeit somewhat more slowly than normal. I’d estimate, I lose about ½ to 1 mph of walking speed when carrying a large load in this manner. This is of course also not accounting for when I don’t have my army duffel on me. In those situations, I generally will place grocery bags on the shaft of my walking stick. This creates problems of its own, when do to the balance difficulties, and additional weight, I may lose cargo, or be slowed even more than if it were in the duffel. When doing so, I often shift the weight to my shoulders, using the stick to make a yoke. While this helps distribute the weight better, it also causes greater strain on my spine/back which makes my unpleasurable compared to my standard nature walks, or training.
        Additionally, with or without additional weight, I often put 5lbs of ankle weights on above each foot. This typical has the effect of making me feel as if I were walking through molasses with each step, and reduces the length of my stride considerably. It is also a very large strain should I choose to do on the ball of the foot strides, which limits my ability to do both simultaneously.