Actualités de la recherche en danse
lundi 19 décembre 2011
CONFERENCE
Les samedis des savoirs - Les cinq sens
Bibliothèque nationale de France
Site François-Mitterrand
samedi 28 janvier 2012
15h00-16h00
Le toucher : le corps dansé
Avec Noëlle Chatelet, écrivain et Christine Bayle, directrice artistique de la compagnie L' Eclat des muses.
Petit auditorium
Entrée libre
En écho à l’exposition Casanova, la passion de la liberté et pour saluer cette figure de « jouisseur », les samedis des savoirs se penchent sur la culture des sens au XVIIIe siècle. Pour chacun des cinq sens, des duos composés d’un historien et d’un praticien – danseur, musicien, pâtissier, couturier et nez – viennent échanger savoirs et expériences.
http://www.bnf.fr/fr/evenements_et_culture/auditoriums/f.samedi_savoirs_5sens.html?seance=1223906810322
Bibliothèque nationale de France
Site François-Mitterrand
samedi 28 janvier 2012
15h00-16h00
Le toucher : le corps dansé
Avec Noëlle Chatelet, écrivain et Christine Bayle, directrice artistique de la compagnie L' Eclat des muses.
Petit auditorium
Entrée libre
En écho à l’exposition Casanova, la passion de la liberté et pour saluer cette figure de « jouisseur », les samedis des savoirs se penchent sur la culture des sens au XVIIIe siècle. Pour chacun des cinq sens, des duos composés d’un historien et d’un praticien – danseur, musicien, pâtissier, couturier et nez – viennent échanger savoirs et expériences.
http://www.bnf.fr/fr/evenements_et_culture/auditoriums/f.samedi_savoirs_5sens.html?seance=1223906810322
FORMATION
APPLICATION FOR 2012 I Master of Arts (MA) Choreography
Degree: Master of Arts (M.A.)
Length:Two years (full-time)
Study Language: Mostly German, English in part
Next start: Winter semester 2012/13 (October 2012)
Application deadline: December 1st, 2011 - January 15th, 2012 (postmark)
Admission exams: April 30th – May 3rd, 2012
The Master Programme Choreography has an artistic/practical orientation. Its specific approach lies in the expansion of body knowledge in order to develop movement research from precisely this knowledge, and to assist in developing choreographic productions with methods of composition. Modes of reflective body practice are transferred into dramaturgical-compositional tools and are examined in individual artistic research processes.
The MA degree programme places students in a position to create and present choreographic productions in the field of contemporary dance that hold their own in this context. This includes that students can critically reflect their own practice, develop their own artistic position and communicate their aesthetic approach.
The study course is structered in two phases. The first two semesters are class-intensive, group work oriented and demand constant presence on site. They lay the foundation for the second year of study, in which students work more individually and are supervised accordingly. The developement of own individual artistic projects takes about half of the study course scale (Moduls 6 and 7) the other half is dedicated to classes of the modules 1 - 5.
Modules
1. Body and Movement Research
2. Strategies and Models of Artistic Cooperation
3. Composition Practice
4. Contextualizing Choreographic Practice
5. Prerequisites for Production
6. Choreographic Projects
7. Master Project
Prerequisites for Admission:
a) BA or equivalent degree from a university, technical college or art school in Germany or abroad; or the prouve of acquired competences and abilities in the frame of a professional education equivalent to a University degree.
b) special choreographic talent and a profound dance ability;
c) first own choreographic works
d) good German proficiency.
Information for application and application form: www.hfs-berlin.de/tan...
Internetsite of the HZT Berlin: www.hzt-berlin.de
Contact: Prof. Ingo Reulecke i.reulecke@hzt-berlin.de
Degree: Master of Arts (M.A.)
Length:Two years (full-time)
Study Language: Mostly German, English in part
Next start: Winter semester 2012/13 (October 2012)
Application deadline: December 1st, 2011 - January 15th, 2012 (postmark)
Admission exams: April 30th – May 3rd, 2012
The Master Programme Choreography has an artistic/practical orientation. Its specific approach lies in the expansion of body knowledge in order to develop movement research from precisely this knowledge, and to assist in developing choreographic productions with methods of composition. Modes of reflective body practice are transferred into dramaturgical-compositional tools and are examined in individual artistic research processes.
The MA degree programme places students in a position to create and present choreographic productions in the field of contemporary dance that hold their own in this context. This includes that students can critically reflect their own practice, develop their own artistic position and communicate their aesthetic approach.
The study course is structered in two phases. The first two semesters are class-intensive, group work oriented and demand constant presence on site. They lay the foundation for the second year of study, in which students work more individually and are supervised accordingly. The developement of own individual artistic projects takes about half of the study course scale (Moduls 6 and 7) the other half is dedicated to classes of the modules 1 - 5.
Modules
1. Body and Movement Research
2. Strategies and Models of Artistic Cooperation
3. Composition Practice
4. Contextualizing Choreographic Practice
5. Prerequisites for Production
6. Choreographic Projects
7. Master Project
Prerequisites for Admission:
a) BA or equivalent degree from a university, technical college or art school in Germany or abroad; or the prouve of acquired competences and abilities in the frame of a professional education equivalent to a University degree.
b) special choreographic talent and a profound dance ability;
c) first own choreographic works
d) good German proficiency.
Information for application and application form: www.hfs-berlin.de/tan...
Internetsite of the HZT Berlin: www.hzt-berlin.de
Contact: Prof. Ingo Reulecke i.reulecke@hzt-berlin.de
mardi 13 décembre 2011
MISE EN LIGNE
L’institut historique allemand de Rome (Deutsches Historisches Institut in Rom) vient de mettre en ligne sa collection de libretti italiens:
http://www.dhi-roma.it/musikbibliothek.html?&L=11&MP=6-78
http://www.dhi-roma.it/musikbibliothek.html?&L=11&MP=6-78
SEMINAIRE DU GESTE
La prochaine réunion du séminaire « Figures du geste dansé : mythes, identités, interprétations » aura lieu vendredi 16 décembre, de 17h à 19h, dans les locaux du CEHTA, 2 rue Vivienne, 75002 Paris
présentation suivie d’une discussion :
Petra Kolářová, « Étienne Decroux : Portrait du mime en sculpteur »
Résumé de l’intervention sur le blog :
Pour consulter ou diffuser des informations relatives au séminaire (annonces
d’évènements, références bibliographiques…) :
présentation suivie d’une discussion :
Petra Kolářová, « Étienne Decroux : Portrait du mime en sculpteur »
Résumé de l’intervention sur le blog :
Pour consulter ou diffuser des informations relatives au séminaire (annonces
d’évènements, références bibliographiques…) :
lundi 5 décembre 2011
APPEL A COM'
Journée d'études des doctorants du CHCSC
Culture populaire ET/ou culture grand public ?
de la Subversion au marketing (XIXe-XXIe siècles)
UVSQ, 23 mai 2012
Appel à com' à télécharger sur le site de l'aCD
LABO DU GESTE
Dans le cadre de son cycle de FOCUS mensuel, Le LABORATOIRE DU GESTE vous présente ce mois ci, FOCUS 5 : A-COUPLER
A-COUPLER
Nous reviendrons ici sur des démarches qui mettent en jeu l’acte d’accoupler, de faire couple et d’ajointer du 2. Nous tenterons de proposer ici quelques démarches emblématiques, à la fois celles qui forment du deux ( création de figure, processus d’ajointement) ainsi que les démarches qui mettent en mouvement ou en jeu un couple déjà constitué. Nous nous sommes attachés non pas à la figure même du couple ou du duo, mais davantage au potentiel renouvellement de la figure du deux. Où se situe ces nouvelles figures, de quoi sont elles constituées, que produisent-elles ? Que signifie t-il aujourd’hui de donner à voir la figure du couple ? Où se place la relation au public ?
Ancré à des logiques d’assemblage et de mise en écho, ce Focus accouplera 19 artistes de la manière suivante :
2= 1+X : Francis Alÿs / Mickaël Phelippeau /Jung-Ae Kim
2 = 1+1 : Felix Gonzalez Torres / Mette Ingvasten & Jefta van Dinther / Antonia Baehr / Zoe Leonard / Pascal Rambert / Emmanuelle Huynh
2= X+X : Eszter Salamon / Gilbert & George/ Eva & Adele / Breyer P-Orridge Genesis+Lady Jaye Breyer P’Orridge
2 = 1-1 : Pieter Ampe & Guilherme Garrido / François-Xavier Courrèges / Marina Abramovic & Ulay
2= 1+XX : Boris Charmatz / Joao Galante & Anna Borralho/ Davis Freeman
Commissaires d’exposition : Mélanie Perrier & Matthieu Bajolet
FOCUS 5 >>>> http://www.laboratoiredugeste.com/spip.php?article523
Chaque FOCUS propose tout les mois sur le site du Laboratoire, un geste spécifique éclairé par un corpus d’oeuvres ou de pièces sélectionnées par 2 commissaires, alliant pour la première fois des œuvres issues du champs des arts plastiques, de l’art chorégraphique, de la poésie sonore, des marges théâtrales, du nouveau cirque.
L’objectif de chaque focus est de détourer ce geste et d’en donner un éclairage spécifique par un corpus exposé.
APPEL A CO-DIRECTION
Madame, Monsieur,
Je m'adresse a vous pour demander votre conseil concernant les possibilités de doctorat en codirection ("cotutelle") au sujet de la Danse Mouvement Thérapie et l'Identité Féminine.
Actuellement je continue mes études doctorat a l'Université Semmelweis de Budapest (http://phd.sote.hu/en/phd_iskolak) dans l'École Doctorale des Sciences du Sport et Education. Le sujet de ma recherche s'agisse de l'analyse phénoménologie de la relation entre la conscience du corps et l'identité féminine. Ma directrice de recherche hongroise, Dr Katalin VERMES - qui est philosophe et thérapeute de la danse - soutient mes plans de continuer mon doctorat en codirection franco-hongrois.
J'ai déjà consulté au Service Culturelle de l'Ambassade de France des possibilités de bourse en cotutelle de thèse ou le Responsable du Bureau des bourses, Mr Kaba LOEMBA m'a informé de procès de l'enregistrement d'un doctorat en codirection. Pour présenter un dossier de candidature la plus important chose de l'impliqué dans un projet de coopération scientifique ou universitaire. C'est pourquoi je vous prie
de bien vouloir m'informer de l'École Doctorale ou bien de contacter des professeurs qui peuvent s'intéresser a mon sujet de doctorat et accepter la codirection.
Je vous bien remercie en avance de votre conseil et votre patience.
Bien cordialement,
Monika CSULLOG
--
Szilágyi-Csüllög Mónika
Telefon: +36 30 599 6598
E-m@il: monika.csullog@balansz.net
Skype: monika.csullog
www.balansz.net
Je m'adresse a vous pour demander votre conseil concernant les possibilités de doctorat en codirection ("cotutelle") au sujet de la Danse Mouvement Thérapie et l'Identité Féminine.
Actuellement je continue mes études doctorat a l'Université Semmelweis de Budapest (http://phd.sote.hu/en/phd_iskolak) dans l'École Doctorale des Sciences du Sport et Education. Le sujet de ma recherche s'agisse de l'analyse phénoménologie de la relation entre la conscience du corps et l'identité féminine. Ma directrice de recherche hongroise, Dr Katalin VERMES - qui est philosophe et thérapeute de la danse - soutient mes plans de continuer mon doctorat en codirection franco-hongrois.
J'ai déjà consulté au Service Culturelle de l'Ambassade de France des possibilités de bourse en cotutelle de thèse ou le Responsable du Bureau des bourses, Mr Kaba LOEMBA m'a informé de procès de l'enregistrement d'un doctorat en codirection. Pour présenter un dossier de candidature la plus important chose de l'impliqué dans un projet de coopération scientifique ou universitaire. C'est pourquoi je vous prie
de bien vouloir m'informer de l'École Doctorale ou bien de contacter des professeurs qui peuvent s'intéresser a mon sujet de doctorat et accepter la codirection.
Je vous bien remercie en avance de votre conseil et votre patience.
Bien cordialement,
Monika CSULLOG
--
Szilágyi-Csüllög Mónika
Telefon: +36 30 599 6598
E-m@il: monika.csullog@balansz.net
Skype: monika.csullog
www.balansz.net
STAGE DE DANSE
Atelier de Danse Baroque par la Cie Fantaisies Baroques
Vendredi 16 décembre 2011, de 19h à 22h
Après un échauffement et des exercices préparatoires, nous travaillerons sur la chorégraphie de la BOURREE D'ACHILLE, de Guillaume Louis Pécour, 1700
Studio So Schnell : Micadanses au 15, rue Geoffroy-l’Asnier 75004 Paris
Vendredi 16 décembre 2011, de 19h à 22h
Après un échauffement et des exercices préparatoires, nous travaillerons sur la chorégraphie de la BOURREE D'ACHILLE, de Guillaume Louis Pécour, 1700
Studio So Schnell : Micadanses au 15, rue Geoffroy-l’Asnier 75004 Paris
APPEL A CONTRIBUTION
Call for Research Articles: Dance Chronicle
A CALL FOR RESEARCH ARTICLES
Publisher: Routledge/Taylor & Francis Group
Special Issue of Dance Chronicle
Music and Dance: Conversations and Codes
Editors: Joellen A. Meglin and Lynn Matluck Brooks
Dance Chronicle has a particular interest in art forms related to dance, as its subtitle (Studies in Dance and the Related Arts) indicates, and music is certainly an art that is and has been integral to dance. In cultures across the world, music and dance have been intertwined in countless ways. Scholars have studied traces of embodiment in music and musical structures and inflections in dance. Studies of specific choreographer-composer collaborations have appeared, but many more remain to be explored. Tchaikovsky, Stravinsky, Prokofiev, Milhaud, and Copland are well known for their contributions to dance, but what of Wallingford Riegger, Lehman Engel, William Grant Still, Jerome Moross, and Norman Dello Joio, among many others? We invite articles of interdisciplinary inquiry that address music-dance relations, including, but not limited to, topics suggested below:
* What new paradigms of collaboration and new choreo-musical structures have evolved in the late twentieth and early twenty-first centuries?
* How might new technologies of composing and reproducing music and dance change the collaborative process and the study of choreo-musical relations?
* How, throughout history, have dancers transposed concepts, practices, and forms in music to dance to expand the range of possibilities and vice versa?
* What traces of embodiment exist in musical forms that have evolved from dance practices in a variety of contexts and cultures—European Renaissance and Baroque court music, African American jazz, Argentine tango, etc.?
* How might a particular choreography comprise a theoretical analysis of sorts of a musical work?
* How might an interdisciplinary music-dance perspective expand semiotic analysis?
* How have already existing music-dance interdisciplinary applications and educational practices (Dalcroze, Laban, Steiner, etc.) generated new knowledge?
* How might ethnomusicology and dance ethnography enhance one another in self-reflective paradigms in a post-colonial world?
All manuscripts will receive double-blind peer review. Submissions will be accepted at any time before March 15, 2012. Send manuscripts or inquiries to Joellen A. Meglin or Lynn Matluck Brooks. Style and formatting guidelines are available as “Instructions for Authors” at www.informaworld.com/01472526.
A CALL FOR RESEARCH ARTICLES
Publisher: Routledge/Taylor & Francis Group
Special Issue of Dance Chronicle
Music and Dance: Conversations and Codes
Editors: Joellen A. Meglin and Lynn Matluck Brooks
Dance Chronicle has a particular interest in art forms related to dance, as its subtitle (Studies in Dance and the Related Arts) indicates, and music is certainly an art that is and has been integral to dance. In cultures across the world, music and dance have been intertwined in countless ways. Scholars have studied traces of embodiment in music and musical structures and inflections in dance. Studies of specific choreographer-composer collaborations have appeared, but many more remain to be explored. Tchaikovsky, Stravinsky, Prokofiev, Milhaud, and Copland are well known for their contributions to dance, but what of Wallingford Riegger, Lehman Engel, William Grant Still, Jerome Moross, and Norman Dello Joio, among many others? We invite articles of interdisciplinary inquiry that address music-dance relations, including, but not limited to, topics suggested below:
* What new paradigms of collaboration and new choreo-musical structures have evolved in the late twentieth and early twenty-first centuries?
* How might new technologies of composing and reproducing music and dance change the collaborative process and the study of choreo-musical relations?
* How, throughout history, have dancers transposed concepts, practices, and forms in music to dance to expand the range of possibilities and vice versa?
* What traces of embodiment exist in musical forms that have evolved from dance practices in a variety of contexts and cultures—European Renaissance and Baroque court music, African American jazz, Argentine tango, etc.?
* How might a particular choreography comprise a theoretical analysis of sorts of a musical work?
* How might an interdisciplinary music-dance perspective expand semiotic analysis?
* How have already existing music-dance interdisciplinary applications and educational practices (Dalcroze, Laban, Steiner, etc.) generated new knowledge?
* How might ethnomusicology and dance ethnography enhance one another in self-reflective paradigms in a post-colonial world?
All manuscripts will receive double-blind peer review. Submissions will be accepted at any time before March 15, 2012. Send manuscripts or inquiries to Joellen A. Meglin or Lynn Matluck Brooks. Style and formatting guidelines are available as “Instructions for Authors” at www.informaworld.com/01472526.
APPEL A COM'
Call For Papers: Collaboration : Intersections, Negotiations, Mediations in the
Worlds of Dance
Canadian Society for Dance Studies
Partners and Locations: Université de Quebec à Montreal and Festival Transamériques
Dates : May 31st to June 3, 2012
Organizing Committee Co-Curators: Dena Davida, Philip Szporer, and Melissa Templeton
Collaboration: in its most basic terms, it is the action of working with someone to produce something. Yet collaboration is a multilayered concept that can be inter and cross -disciplinary, - textual, and -cultural. In the field of dance, collaborations might engage dancers, choreographers, composers and designers, but they might also involve concepts, fields of study, or new media. This conference proposes to investigate the many ways through which collaboration characterizes the art and practice of dance from cabaret to dance hall to club, from stage, to street, to cyberspace and beyond.
Appel à com' à télécharger sur le site de l'aCD
Worlds of Dance
Canadian Society for Dance Studies
Partners and Locations: Université de Quebec à Montreal and Festival Transamériques
Dates : May 31st to June 3, 2012
Organizing Committee Co-Curators: Dena Davida, Philip Szporer, and Melissa Templeton
Collaboration: in its most basic terms, it is the action of working with someone to produce something. Yet collaboration is a multilayered concept that can be inter and cross -disciplinary, - textual, and -cultural. In the field of dance, collaborations might engage dancers, choreographers, composers and designers, but they might also involve concepts, fields of study, or new media. This conference proposes to investigate the many ways through which collaboration characterizes the art and practice of dance from cabaret to dance hall to club, from stage, to street, to cyberspace and beyond.
Appel à com' à télécharger sur le site de l'aCD
JOBS
New Job Postings Listed on the SDHS Website
* University of Dance and Circus: Professor of dance pedagogy within the field of teaching & learning
* California State University, Long Beach: Assistant Professor of Dance (Tenure Track)
* University of North Carolina at Charlotte: Chairperson of the Department of Dance
* Temple University: Professor/Associate Professor of Dance (Tenure Track)
* Florida State University: Assistant Professor of Contemporary Dance (Tenure Track)
To view the full listings, please refer to the SDHS website.
* University of Dance and Circus: Professor of dance pedagogy within the field of teaching & learning
* California State University, Long Beach: Assistant Professor of Dance (Tenure Track)
* University of North Carolina at Charlotte: Chairperson of the Department of Dance
* Temple University: Professor/Associate Professor of Dance (Tenure Track)
* Florida State University: Assistant Professor of Contemporary Dance (Tenure Track)
To view the full listings, please refer to the SDHS website.
APPEL A COM'
Call for Contributions: 2012 Conversations Across the Field of Dance Studies
Issued yearly in autumn/winter, this peer-reviewed publication reflects the dynamic and diverse membership of SDHS, providing an informal form for scholarly engagement with our most exciting research issues.
Conversations is conceived as a “cross-over” publication that speaks to research agendas and the profession, addressing the concerns of the field through discursive, polemic, poetic and experiential articles.
Call for Contributions Autumn 2012:
Visual Culture and Performing Arts — an Academic Discipline
Guest editors: Tamara Tomic-Vajagic and Dr. Alessandra Lopez Y Royo
While we all engage visually with dance, how much are we aware of the specific issues of visual culture relating to our embodied experiences? While visual components cannot be separated from the overall dance content, with the increasing interest in the area of time-based art, media and visual culture as an academic and artistic fields, dance practitioners and scholars are investigating various possibilities in the area traditionally associated with the visual studies. Many recent dance exhibitions prove that exploring dance content as part of the cultural heritage in museums and gallery spaces is an emerging interest in the field of both dance and visual art studies. Students in academic programmes now increasingly explore aspects of dance as public art, and investigate various challenges posed to received ideas of dance as “art” objects.
Appel à com' à télécharger sur le site de l'aCD
Issued yearly in autumn/winter, this peer-reviewed publication reflects the dynamic and diverse membership of SDHS, providing an informal form for scholarly engagement with our most exciting research issues.
Conversations is conceived as a “cross-over” publication that speaks to research agendas and the profession, addressing the concerns of the field through discursive, polemic, poetic and experiential articles.
Call for Contributions Autumn 2012:
Visual Culture and Performing Arts — an Academic Discipline
Guest editors: Tamara Tomic-Vajagic and Dr. Alessandra Lopez Y Royo
While we all engage visually with dance, how much are we aware of the specific issues of visual culture relating to our embodied experiences? While visual components cannot be separated from the overall dance content, with the increasing interest in the area of time-based art, media and visual culture as an academic and artistic fields, dance practitioners and scholars are investigating various possibilities in the area traditionally associated with the visual studies. Many recent dance exhibitions prove that exploring dance content as part of the cultural heritage in museums and gallery spaces is an emerging interest in the field of both dance and visual art studies. Students in academic programmes now increasingly explore aspects of dance as public art, and investigate various challenges posed to received ideas of dance as “art” objects.
Appel à com' à télécharger sur le site de l'aCD
APPEL A COM'
Call for Proposals: SDHS 2012 Conference
SDHS Annual Conference 2012
Dance and the Social City
15-17 June, 2012
The University of the Arts, Philadelphia, PA
The Society of Dance History Scholars invites proposals for individual papers, panels, roundtables, movement workshops and lecture demonstrations for its thirty-fifth annual conference, hosted by the University of the Arts in Philadelphia, PA. SDHS invites scholars and artists from across the globe to join us as we consider histories and narratives of dance and the social city. SDHS defines history in the broadest possible way and includes in its conference programs a wide range of research methodologies, interpretive approaches, and analytic techniques. The program committee encourages interdisciplinary perspectives, and scholars from disciplines related to dance are strongly invited to submit their work. SDHS also encourages submissions from graduate students and independent scholars.
Appel à com' à télécharger sur le site de l'aCD
SDHS Annual Conference 2012
Dance and the Social City
15-17 June, 2012
The University of the Arts, Philadelphia, PA
The Society of Dance History Scholars invites proposals for individual papers, panels, roundtables, movement workshops and lecture demonstrations for its thirty-fifth annual conference, hosted by the University of the Arts in Philadelphia, PA. SDHS invites scholars and artists from across the globe to join us as we consider histories and narratives of dance and the social city. SDHS defines history in the broadest possible way and includes in its conference programs a wide range of research methodologies, interpretive approaches, and analytic techniques. The program committee encourages interdisciplinary perspectives, and scholars from disciplines related to dance are strongly invited to submit their work. SDHS also encourages submissions from graduate students and independent scholars.
Appel à com' à télécharger sur le site de l'aCD
FORMATION
APPLICATION FOR 2012 I BA CONTEMPORARY DANCE, CONTEXT, CHOREOGRAPHY
Degree: Bachelor of Arts
Study language: German and English
Beginning: Winterterm 2012/13 (October 8th, 2012)
Application: December 1st, 2011 – January 16th, 2012
Admission Exams: April 2nd to 5th 2012
The Bachelor of Arts Contemporary Dance, Context, Choreography programme offers a practice-oriented education over a period of six semesters.
The course offers students the opportunity to educate and prepare themselves for an artistic and creative activity in the field of contemporary dance and choreography. The programme is realized in close interaction with practitioners from Berlin’s artistic context, and in cooperation with the HZT’s MA programmes (MA Solo/Dance/Authorship and MA Choreography) and international guest teachers.
The curriculum’s core is a structure made up of intensive block seminars taught by local and international artists and theoreticians and is continually accompanied by members of the HZT staff.
A strong focus of the course is placed onto the students’ own artistic undertaking in student project work. The course calls for students to work independently on artistic and theoretical projects, and to take on responsibility for project work in groups.
The degree programme’s objective is to educate artists who can articulate and realize their own ideas and notion of dance as an art form and to thereby provoke new impulses in this constantly changing artistic environment.
Modules
• Modes of Dance and Training
• Movement-Analysis and Theories of the Body
• Other Art-Disciplines / Art-Theory
• Documentation / Communication
• Choreography / Composition
• Project Work
Further Information and admission form: www.udk-berlin.de/sit...
Internetsite of the HZT Berlin: www.hzt-berlin.de
Contact: Prof. Nik Haffner ba@hzt-berlin.de
Degree: Bachelor of Arts
Study language: German and English
Beginning: Winterterm 2012/13 (October 8th, 2012)
Application: December 1st, 2011 – January 16th, 2012
Admission Exams: April 2nd to 5th 2012
The Bachelor of Arts Contemporary Dance, Context, Choreography programme offers a practice-oriented education over a period of six semesters.
The course offers students the opportunity to educate and prepare themselves for an artistic and creative activity in the field of contemporary dance and choreography. The programme is realized in close interaction with practitioners from Berlin’s artistic context, and in cooperation with the HZT’s MA programmes (MA Solo/Dance/Authorship and MA Choreography) and international guest teachers.
The curriculum’s core is a structure made up of intensive block seminars taught by local and international artists and theoreticians and is continually accompanied by members of the HZT staff.
A strong focus of the course is placed onto the students’ own artistic undertaking in student project work. The course calls for students to work independently on artistic and theoretical projects, and to take on responsibility for project work in groups.
The degree programme’s objective is to educate artists who can articulate and realize their own ideas and notion of dance as an art form and to thereby provoke new impulses in this constantly changing artistic environment.
Modules
• Modes of Dance and Training
• Movement-Analysis and Theories of the Body
• Other Art-Disciplines / Art-Theory
• Documentation / Communication
• Choreography / Composition
• Project Work
Further Information and admission form: www.udk-berlin.de/sit...
Internetsite of the HZT Berlin: www.hzt-berlin.de
Contact: Prof. Nik Haffner ba@hzt-berlin.de
CARNETS BAGOUET
Jours Etranges : répétitions publique
Jeudi 22 décembre à 18h au Triangle, cité de la danse à Rennes.
Merci de confirmer votre venue en appelant le 02 99 22 27 27 ou par mail : odile.baudoux@letriangle.org
Après une dizaine de jours de travail, Catherine Legrand et Anne-Karine Leskop et les 11 jeunes participants à la recréation de cette pièce (les 1er et 2 mars 2012) vous invitent à assister à une répétition. Ce sera l’occasion de vous présenter le projet, son état d’avancement, et d’échanger avec vous.
Ce projet est produit par le Triangle/cité de la danse, en collaboration avec l’Association Hors Mots et avec le soutien de la DRAC Bretagne, du CND dans le cadre du dispositif danse en amateur et répertoire, et de la Ville de Rennes.
Et toujours...
Dominique Bagouet, le grain du temps : un coffret-DVD qui rassemble les 3 films réalisés par Marie-Hélène Rebois.
En vente en librairie au prix de 33 euros.
Les deux premiers documentaires (Histoire d’une transmission et Ribatz, Ribatz ! ou le grain du temps) abordent avec magie la question de la transmission de la danse ; le troisième (Noces d’or, la mort du chorégraphe) parle du destin et de la vocation de Dominique Bagouet, fauché en pleine gloire, à 41 ans, par le sida. Le film raconte la fin de la vie de Dominique Bagouet et de sa compagnie, mais aussi la naissance de sa vocation à Angoulême dans les années 60.
Vidéodanse 2011
au Centre Pompidou à Paris du 23 novembre au 2 janvier 2012.
Plusieurs œuvres de Dominique Bagouet sont projetées à cette occasion :
Assaï (1986) 64’ : le 3 décembre à 11h30
Le Crawl de Lucien (1986) 62’ : le 4 décembre à 16h25 et le 22 décembre à 15h55
F. et Stein (1983) 60’ : le 2 décembre à 19h30, le 11 décembre à 15h45, le 23 décembre à 15h40
Meublé sommairement (reprise 2000) 70’ : le 30 décembre à 18h20
Jeudi 22 décembre à 18h au Triangle, cité de la danse à Rennes.
Merci de confirmer votre venue en appelant le 02 99 22 27 27 ou par mail : odile.baudoux@letriangle.org
Après une dizaine de jours de travail, Catherine Legrand et Anne-Karine Leskop et les 11 jeunes participants à la recréation de cette pièce (les 1er et 2 mars 2012) vous invitent à assister à une répétition. Ce sera l’occasion de vous présenter le projet, son état d’avancement, et d’échanger avec vous.
Ce projet est produit par le Triangle/cité de la danse, en collaboration avec l’Association Hors Mots et avec le soutien de la DRAC Bretagne, du CND dans le cadre du dispositif danse en amateur et répertoire, et de la Ville de Rennes.
Et toujours...
Dominique Bagouet, le grain du temps : un coffret-DVD qui rassemble les 3 films réalisés par Marie-Hélène Rebois.
En vente en librairie au prix de 33 euros.
Les deux premiers documentaires (Histoire d’une transmission et Ribatz, Ribatz ! ou le grain du temps) abordent avec magie la question de la transmission de la danse ; le troisième (Noces d’or, la mort du chorégraphe) parle du destin et de la vocation de Dominique Bagouet, fauché en pleine gloire, à 41 ans, par le sida. Le film raconte la fin de la vie de Dominique Bagouet et de sa compagnie, mais aussi la naissance de sa vocation à Angoulême dans les années 60.
Vidéodanse 2011
au Centre Pompidou à Paris du 23 novembre au 2 janvier 2012.
Plusieurs œuvres de Dominique Bagouet sont projetées à cette occasion :
Assaï (1986) 64’ : le 3 décembre à 11h30
Le Crawl de Lucien (1986) 62’ : le 4 décembre à 16h25 et le 22 décembre à 15h55
F. et Stein (1983) 60’ : le 2 décembre à 19h30, le 11 décembre à 15h45, le 23 décembre à 15h40
Meublé sommairement (reprise 2000) 70’ : le 30 décembre à 18h20
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