Download Anna Halprin: Dance - Process - Form by Ursula Schorn PDF
By Ursula Schorn
Anna Halprin is a world-famous theatre artist and early pioneer within the expressive arts therapeutic circulation. This publication explores her own development as a dancer and choreographer and the improvement of her healing and pedagogical process.
The authors, who each one knowledgeable with Halprin, introduce her inventive paintings and the 'Life/Art Process®' she built, an method that takes existence reports as a resource for inventive expression. additionally they research the broader influence of Halprin's paintings at the fields of artwork, schooling, remedy and political motion and speak about how she crossed the conventionally outlined limitations among them.
Exploring Halprin's trust that dance could be a strong strength for transformation, therapeutic, schooling, and making our lives entire, this booklet is a tribute to a very good physique of creative and healing paintings and may be of curiosity to expressive arts therapists, dance flow psychotherapists, dancers, functionality and group artists, and an individual with an curiosity in modern dance.
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Additional info for Anna Halprin: Dance - Process - Form
Out of this emerged an internal ‘myth’: fear of a murderer who had killed seven women in the nature reserve around the local mountain, Mount Tamalpais. No one would walk in the area any more. The group was concerned with the fear of violence and loss of safety and decided to repossess the mountain. In 1981, 80 people – with police protection – went on a ritual hike and followed the perpetrator’s tracks to the scene of each murder, up to the summit of the mountain. 74 Anna Halprin followed the advice of the Huichol medicine man José Matsuwa, to continue repeating the ritual for five years, the time necessary to guarantee lasting results.
Here, Anna Halprin once more gives form to what has been her life’s work: giving form to the perceptible differentiation between, and coexistence of, body, mind and spirit on the three levels of awareness – sensing (movement), feeling (emotions), thinking (images and thoughts) – that she herself was taught to recognise by her teacher in Wisconsin. She puts into practice what Margaret H’Doubler demanded at the beginning of the twentieth century: that dance should have a place in research as well as in art and education.
As a participant in Fritz Perls’ groups she saw how directly the language of the body conveys emotional processes. In Gestalt therapy, the focus of attention is on experience in the here and now. Not just what is said, but the way the language of the body is manifested – in breathing, posture, gesture, voice and movement – is crucial, and points the way to the inner landscape of emotional experience and understanding. The phenomenon of perception gains significance. But how is perception structured?