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Tools for a Thinking Body
After working more than a decade with and for the same choreographer I realised that I had to challenge and reinvent myself each time we would be involved in the creation of a new piece.
If we visualise the creation of a dance piece as a puzzle – and if as a dancer you would like to be an active piece on the board – you need to be a thinking body that changes, transforms, translates the basic material and is able to surprise herself or himself.
During this week of work we will deal with Space and Time alterations.
The first few days we will learn a basic phrase, which will be the vocabulary used to build all the changes.
The first transformations will be related to time:
How can we create the reverse of a movement phrase? Are we able to play with suspensions, to freeze the time on stage? Do we dare to make radical change of speeds and create endless loops that bring our dancing to other quality levels?
The space alterations are divided in two different groups: the vertical and the horizontal space.
In the vertical space alterations, we need to be aware of all possible levels our dancing can achieve. We will talk about the parameters to create a floor version of the material. A version that can interact harmoniously with other levels, like a jumping version - another subject we will also deal with.
In the horizontal space alterations we will amplify our research and create duos, trios and quartets with the different notions of two dimensions and three dimensions. We will be challenged to create ground patterns with our dancing that can interact with the ones of other dancers and construct a geometric figure all together.
The last day of work we will summon all the material created and try to make the skeleton of a dance piece to give the participants the chance of performing it to each other and having the sense of continuity this work should have.
The final goal of the workshop is to share the base of my own experience as a performer and give different guidelines and suggestions to the participants of when and how to use these principles of transformation and composition.
OTHER WORKSHOPS OF Marta Coronado
Rosas Repertory – Drumming
"Drumming" is a dance piece created by Rosas in 1998. During 14 years it toured all over the world and in the season 2012 Rosas presented a retake.
During the week we will be working with learning material of "Drumming" to be able to dance it and transform it in a personal and unique way. I will teach the vocabulary and phrases from the piece and once we will master them I will give different tasks and parameters to transform those phrases and to help create your own vocabulary and way of expressing it.
I explain and teach tools we use in Rosas Company to generate material.
We will talk about how to apply it in space, the idea of spirals, maximum versions, minimum versions, rhythmical and speed alterations, loops, video scratches...
The final result should be a playful approach and give you the chance to experience Rosas material with your own body and help you understand the work of Anne Teresa De Keersmaeker.
Release Technique – Enjoying the Laws of Motion
Enjoy the intensity of movement
The workshop is based on the main premises of Release Technique.
The terms verticality and gravity are introduced from the very beginning of the warm-up to develop the relationship of the mover with the floor and gain awareness of total alignment.
The focus is on the head-neck connection as initiation for any action. The importance of using the real weight of the extremities, pelvis and thorax will be explored. Self-perception of movement is the main goal in changing previous physical habits, in order to use new perimeters that will help us renounce extra muscular force.
We will delve into active integration of mind and body and the investigation of your own thought process to open new ways of communication with other bodies in space.
This class is an approach to the body as an open system, a physical machine that endures the laws of motion. The three golden laws of Inertia, Reciprocal actions and Impulses are there to help us dance and enjoy the intensity of our movements.
ARTISTBIO: Marta Coronado
She danced in the Rosas creations such as: "Drumming", "Achterland", "I said I", "In real time", "Rain", "April me", "Bitches Brew", "Mozart concert Arias", "Kassandra", "Raga", "D' un soir un jour" and "Steve Reich evening". In the season 2002 she was awarded with a Bessie (New York Dance and Performance Award) for sustained achievement as a performer. She dances and contributes to the creation of Rosas pieces for more than a decade and nowadays she is rehearsal director of Rosas projects. In 2011 and 2014 she taught "Rain" at the Paris Opéra. In 2015 she taught "Drumming" at the Opera de Lyon and in 2017 at the Opera de Paris.
She has been invited as a guest choreographer to La Salle Singapore and CDC Toulouse, Compañia Fueradeleje and Dantzaz Company. She teaches Rosas Repertory and composition workshops worldwide such as at the Theater School in Amsterdam, CNDC Angers and the Festival Deltebre as well as dance technique for the Rosas Company, Les ballet C. de la B., the Ballet de Marseille, P.A.R.T.S. Ultima Vez Company, ImPulsTanz Festival, Charleroi/Danses, Thor Company, La Raffinerie and Conservatorio superior de Madrid.
Since 2013 she is part of PHD in one night project.
In 2018 she choreographed "El Silencio de las Flores" for the Prize Principe de Viana. Nowadays she freelances for Rosas Company for the retake of "West Side Story" at the Broadway and is the co-director of La Faktoria Choregraphic Centre in Pamplona.
GOOD TO KNOW
Everything about our previous festivals you find HERE