A Transpractice Methodology in Dance Conservatoire - The Dancer training within an integrative approach
This practice-based research seeks to develop a new integrative training methodology that can be utilized by UK dance conservatoires, which will significantly enhance contemporary dancers’ training experience and open new possibilities within movement creation in contemporary dance. Drawing from existing ideas on interdisciplinarity and transdisciplinarity discussed by Experience Bryon and Basarab Nicolescu, this integrative training methodology will combine dance and theatre, drawing and building on concepts and practices of psychophysical training and physical actions. The latter has been well documented and most clearly articulated in the recently revised translations of Stanislavski’s texts (Benedetti, 2008). Stanislavski’s later training approaches were concerned with physical movement motivated by intention, emotion and purpose. Extensive work has been carried out, experimenting with this work with physical actions, within the context of psychophysical and body-based performer training (see, for example, Grotowski 1968, Barba 1991, Richards 1993, Zarrilli 2009). Grotowski, in particular, dynamically built on Stanislavski’s work by ‘using the body to express psychic impulses directly in physical metaphors’ (Auslander 2002, p.23). Despite the ways in which this psychophysical emphasis could clearly be fruitfully deployed in dance contexts, UK contemporary dance training has made barely any attempt to rigorously investigate, either artistically or academically, the possibilities of applying Stanislavski’s approaches to choreography that isn’t focused on narrative, storytelling or character development.