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Mit dem RSS-Angebot von K3 erhalten Sie die aktuellen Informationen zu allen Veranstaltungen selbst dann, wenn Sie keinen Internetbrowser geoffnet haben. In what ways can we address the special needs of children and teenagers arriving in Germany as refugees? Based on principles of Feldenkrais and release technique, the practice focuses on one’s connection to the body from the inside out: awakening physical connections, stimulating sensibility, to then integrating these into movement schemes. Focusing on the deeply intuitive working methodology of choreographer Samir Akika, Gregor Runge – dance dramaturge at the Theater Bremen – outlines how dramaturgical work can strengthen unstable artistic positions. The training is inspired by yoga, somatic approaches, floor work and other release techniques. As a production dramaturge as well as in the role of curator, Anne Kersting focuses on the dramaturgy of observation.
This class is a confrontation with different movement languages, such as kung fu, tango argentino, sign language, capoeira and more, all melting together to a rich contemporary vocabulary. Choreographer Martin Nachbar and dramaturge Jeroen Peeters share a close artistic working relationship. In Embrace the Space the adolescents experiment under Friederike Lampert’s direction with the different possibilities of shaping the choreographic space with body and clothes. Marc Vlemmix and Andrew Greenwood provide a practical introduction to their teaching method for working with people with Parkinson’s and other neurodegenerative impairments to enhance their quality of life through dance. The training focuses on physically understanding which impulses lead us to move with which qualities.
Within a clear structure ending in a movement combination that articulates outwards into the space, this counter technique training prepares the body for subsequent rehearsals, performances or simply helps to get ready for the day. The Probebuhne Eins (Rehearsal Stage One) format provides insight into choreographic and artistic processes and various approaches to handling contents, form and aesthetics in a context not tied to a specific production. Musicality and the interplay transition between dynamics and movement qualities make a good dancer.
Stiftung Tanz is based in Berlin and supports dancers in transitioning to a new profession after the end of an active dance career. The training is designed for dancers, who wish to employ the special technical qualities of ballet in their work.
The main proposition of this class is to move away from any ideology, style, form or aesthetic and to examine physical abilities through different situations that force us to move. A class of high physicality based on elements of flying low, parkour, break dance, martial arts and capoeira in order to establish a language in common, and explore the limits of each one, stretching them until the limit and further.
The Countertechnique, developed by Anouk van Dijk, is a physical and mental form of training.
Mandeep Raikhy is visiting Kampnagel with his piece Male Ant and will be giving an introduction to his methodology in a master class. The class focuses on the connection between creativity and imagination in the dancer's work. The training usually starts with exercises to one specific organ or system of the body, physically, mentally and emotionally.
In Cristina’s practice, the dynamics of the class increase progressively using imagery: several states of consistency of the body and density of the space are explored.
The training aims to explore the relationship between visual perception and proprioception.
The training is based on the Weissmann Technique, a contemporary movement approach that, although based on modern dance, has developed it further into a new method used to explore movement in a highly physical and dynamical way as well as learn to dance with joy.
Everyone has built a cave out of blankets and boxes at some point or carved a sword out of a stick. The workshop provides a practical introduction on the subject of choreographic processes in dance, theatre and performance and offers the chance to become acquainted with the tools of the trade for a playful handling of movement, especially for those with little or no choreographic experience. As part of the rehearsal process to Glas, the second part of her trilogy on the relationship between dance and the audience, Hamburg-based choreographer Jenny Beyer is hosting a collaborative laboratory. Some exercises and games of this class awaken the playful bodies, spirit, intuition and instinctive motion but the class also pays attention to technical aspects, exploring physical mechanisms that allow us to reach physical extremes while protecting the body at the same time.
The participants are led through a series of structured exercises incorporating elements of yoga, release, Limon and Flying Low technique that gradually and steadily prepare them for complex patterns and challenging choreographic sequences.

In the first half of the class the participants train reflexes, balance and the peripheral vision. A contemporary training relating the hands to the pelvis, using structured exercises as well as explorative tasks to physically experience their link, connection and distance.
The class unfolds slowly and gradually, a guided warm-up incorporates somatic practices and an embodied movement approach. In our new K3 Youth Club production, teenage performers deal with various aspects of economic growth and the social and technical acceleration that it entails. While the debate about collaboration in the field of dance has been running extensively, it easily falls into a trap of confusing a discourse about it with a practice of it. The training builds on somatic approaches, release work and the gravity associated principles of qigong and t’ai chi ch’uan.
This is a€?Informative Speakinga€?, chapter 16 from the book Public Speaking: Practice and Ethics (v.
This content was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz in an effort to preserve the availability of this book. PDF copies of this book were generated using Prince, a great tool for making PDFs out of HTML and CSS. For more information on the source of this book, or why it is available for free, please see the project's home page. helps people like you help teachers fund their classroom projects, from art supplies to books to calculators. An informative speech conveys knowledge, a task that youa€™ve engaged in throughout your life. When your professors greet you on the first day of a new academic term, they typically hand out a course syllabus, which informs you about the objectives and expectations of the course. An informative speech does not attempt to convince the audience that one thing is better than another. It begins with a concentration on breathing and then develops into more and more complex movement sequences. This is an offer for everyone who is interested in an exchange between people with and without experience in dance as well as with and without handicaps.
Based on our own bodies, own physique, own body schemata, we deal with various internal bodily connections.
She moves through the glamorous emptiness of the stage space on roller skates while developing a simultaneously powerful and fragile movement language. His unique style of choreography, infused with honesty and raw physicality has won Hofesh and his Company world-wide acclaim.
However, the predetermined sequence of exercises is deliberately rearranged and combined with modern techniques.
We work with the sensory image of melting outwards into the multi-dimensional body, with a playfull awareness of the breathing pulse, with listening to the response of gravity in any situation. It develops from pure bodywork to complex choreographic movement sequences with a focus on expansive movements and floor work. Gaga provides a framework for discovering and strengthening your body and adding flexibility, stamina, and agility while lightening the senses and imagination. Its aim is to increase the overall awareness of dancers and to connect movement with thinking in a really efficent way. The participants will learn to observe dance from the perspective of movement principles, patterns and connections in the body. It is based on analytical thought and physical feelings in different situations, as experienced by the body.
Using the Body-Mind Centering® approach, we will try out specific exercises for the exploration of perceptual elements by applying images and movement in the class. All interested in an exchange between people with and without prior dance experience as well as with or without disabilities are welcome to participate.
In a universe of colours and structures, dancer Eva Svaneblom demonstrates ways in which everyday objects, garments and bodies swap their properties, abilities and functions.
In them, dance vocabulary and sing-song, instructions and praise, accents and mumbo-jumbo, poetry and pop songs mingle.

Passion as in flamenco, erotic seduction as in burlesque – the performer’s poses reveal and deconstruct the many approaches of different styles.
It starts out with a warm-up for the body, the awareness and the senses by using mobility, strength and stretch for traveling in space. Simple soccer tricks and exercises are applied in an atmosphere of play, creativity and musicality and create a strong sense of presence, action and intent.
Placing and sending the hands or pelvis in the space, will bring the bodies to move on different levels. It provides a framework for discovering and strengthening the body and adding flexibility, stamina, and agility while lightening the senses and imagination. Softly and respectfully the participants perceive, feel and explore walking patterns, imagery, awareness of bodily systems and the action of touch and being touched. Qi work, as well as the exploration of structures and swirls, play with the relationship between buoyancy and weight, emptiness and abundance, elasticity and balance. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms.
However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed.
Much of the information comes to have greater meaning as you actually encounter your coursework.
It is likely to answer some specific questions, such as the following: Am I prepared to take this course? What exercises give a sense of orientation and freedom in order to deal with complex musical compositions? Choreographer Meike Klapprodt and media pedagogue Claudia Meiners will be offering dance, film and costume workshops.
The participants use their imagination as well as triggering their senses with the information around. Whose purpose is it anyway?Journalists today are plagued by the need to develop clever strategies for (self)improvement. You may also download a PDF copy of this book (61 MB) or just this chapter (761 KB), suitable for printing or most e-readers, or a .zip file containing this book's HTML files (for use in a web browser offline). When you caution someone about crossing the street at a certain intersection, you are describing a dangerous situation.
Leta€™s say, for instance, that you have carefully followed the news about BPa€™s Deepwater Horizon oil spill in the Gulf of Mexico. Good information has a strong tendency to be persuasive, and persuasion relies on good information.
24 children tell the tale of trying to catch the Robber Hotzenplotz using bodies, pens and words. When you steer someone away from using the car pool lane, you are explaining what ita€™s for. He or she probably does, but in all likelihood, the explanation wona€™t really make sense at the time because you dona€™t yet have the supporting knowledge to put it in context. Leta€™s further say that you felt outraged by the sequence of events that led to the spill and, even more so, by its consequences. As we have said in various ways, ethical speaking means respecting the intelligence of your audience. These orientations are informative because they give important information relevant to the course. However, if it expresses your views on what petroleum corporations should do to safeguard their personnel and the environment, save that topic for a persuasive speech.
If you try to circumvent the purpose of the informative speech in order to plant a persuasive seed, your listeners will notice.

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