undervisning på dansk eller engelsk
teaching lanuages : english or danish
Workshops can be 2-4 hours per day.
Lengths: 1 day up to 2 weeks. Number of participants: 5 - 25.
There are no prerequisites for physical condition! (For instance you can miss a leg or an eye or have an extra)
Studio: preferably a dance studio or studio for physical training.
-But if participants bring the right clothes and shoes then almost any location is possible (I am cool with alternative spaces and temperatures)
This workshops is intended for musicians, dancers and anyone involved with physical theater.
The groups can very well be composite.
The concept of improvisation has many different interpretations and as such one must view it as a sort of umbrella idea covering all sorts of interplay between instant composition and performative structure. The workshop starts with a physical warmup and an awareness of space and time. We work in different group settings and explore the frames of time and space. We exchange roles as performers and spectators. Both collaboration and an awareness of composition are necessary skills to develop. Like composers we must train our minds eye to notice and remember everything which occurs in the space and beyond it. Many important questions arise in this work. It must in some way transgress into ritual. What is the nature of our choices? Is there a fractal form of the interaction between composition and improvisation? - Is it possible to frame improvisation and structure it, and what effects does that have? And what is a structure in the first place? Can structure induce energy?
How do we experience time and event unfold? What is our influence on time and event? ---------------- >>>>>
I worked with improvisation for more than 30 years. A major study is the SNDO, Amsterdam in the 1990ties. Improvisation is my main performance form. I worked with countless people and in many very different settings, but as important inspiration from Amsterdam I would like to mention Katie Duck and Raoul v/d Weide.
This workshop can both function as an introduction to work with the voice
and as a deepening of this beautiful and profound craft. The voice
resonates in the body and first of all we deepen and explore the
possibilities of this resonance. There will be technical training on the
connection to the ears and intonation, the breath and on the development of the physical
support, which is central to the acoustic voice. The performative
framework will be improvisational structures. When we have time, then we
will work on aspects of text-performance since text is an inherent part of
the human voice. Bring clothes in which you can move and lie on the
My background: I perform and practice vocals for about 30 years. As major technical inspiration I can mention members of the Roy Hart Theater and most importantly my classical master Marianne Blok, with whom I studied more that 12 years. There is a profound knowledge and respect for the voice in the classical singing traditions of Europe (in my eyes very contrary to how the so called ‘classical dance' has developed). I have also trained and performed much movement over the years. For instance the SNDO Amsterdam in the beginning of the 1990ties. Currently I am very active as composer and programmer of computer music.