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“The right art is purposeless, aimless. The more obstinately you try to learn how to shoot the arrow for the sake of hitting the goal, the less you will succeed in the one and the further the other will recede. What stands in your way is that you have a much too willful will. You think that what you do not do yourself does not happen.” - Eugen HerrigelDates
1 - 2 June 2024
Times
Sat 1 | 10 am - 6:30 pm (with 1.5 hour lunch break)
Sun 2 | 10 am - 6:30 pm (with 1.5 hour lunch break)
Price
Early bird | €239 (Register until April 20)
Full price | €289
Location
Lenka Vagnerová & Company Studio
Na Košince 8,
Praha 8, Czech Republic
More information
[email protected]
[email protected]
Registration
https://www.movementarchery.com/purchase/prague-jun2024
Content
The foundation and primal concept of this workshop is divided into 4 main parts which aim to provide a wide base for several physical practices.
PART 1 - WARM-UP
Our concept of warm-up is based on the mover’s need to tune into a clear and subtle quality before their practice and execution.
The warm-up starts from meditation and is guided by the fundamental physical principles.
The routine Tom follows and teaches is inspired by concepts of Chi Kung, Tai-Chi Chuan and Chaya (Shadow) Yoga and particularly the “Balakarma” series (stepping into strength). All of those bodies of work have been integrated and interpreted into a unique combination that Tom has been practicing and teaching for over 10 years. The warm-up routine emphasizes the opening of the darkest parts of our bodies - our legs, which are also the most distant from our eyes. Demanding postures alongside gentle flow with circular motions and spirals will be introduced to provide better awareness of the lower parts. The second principle Tom wishes to unfold is preparations (or introduction) to low movement while maintaining the gentle functions of the wrists and neck as tools for balance, sensing the space and organically digesting physical information - internal and external, creating a ritual that optimizes the space within the practitioner and their ability to sense the space around them.
PART 2 - CREATIVITY AND IMPROVISATION
Our practice always starts with a creative research which we call 'Clean Paper'. This is an approach to define the personal motives and inspiration for movement. Deconstructing what 'moves' each person and only then moving on to which 'moves' to choose to train and express.
Our technique serves as a “risk management” mechanism which ultimately, leads to freedom in a much larger scale than usually experienced by performers of a single discipline. We introduce dynamics of falling, rolling, collapsing, flipping and melting down in order to reduce and eventually eliminate the type of actions we usually refer to as “failure” in dance, athletics and martial arts. The practice is composed both of simple, almost “daily” actions, alongside “complicated” acrobatic risks without distinguishing between them or judging what’s important and unimportant. This approach allows a blend of influences from the Animal Kingdom, Capoeira, Gymnastics, Contact Improvisation, Tae Kwon Do, Parkour, Brazillian Jiujitsu, Judo, Tango, Bboying, House Dance and more to become possible expressions.
The integration of 'Clean Paper' and technical research is our proposition of a long-term, personal, challenging and rewarding creative practice that can adapt to the constant changes in one's life.
PART 3 - PARTNERING
If dancing alone is a relationship with imagination, dancing with a partner is a relationship with reality.
We believe that these two skills are fundamental and relevant for each other but if we practice one without consciously looking for the creative connections with the other, it is hard to sense and experience the actual benefit.
In that sense, virtuosity and skill will appear when the line between imagination and reality slightly fades away. And then, solo dance and partner dance becomes inseparable.
It will lead to questioning the communication and the dialogue, which has endless developments and a very large potential.
Another topic will be how we read the space, the other body, and the space of the other body. This does not necessarily mean changing the shapes or forms which we create with our own bodies.
Dancing with another person is constant acknowledgment of the unknown. This is actually not an abstract or spiritual concept but it's rather a technical and concrete understanding of the reality of partnering and collaboration through movement.
Understanding that no matter how good my technique is, I still need to make a space to re-evaluate the situation and listen to the ambitions and the needs of the other moving body.
We believe that practicing this will allow space for applying appropriate techniques and hopefully propose new ideas which haven't been tried before.
PART 4 - TECHNIQUE
This approach to acrobatics has developed from the urge to look for freedom in movement. It led me to the wonderful paradox between meditation and acrobatics, the attempt to find tranquillity in the chaos, to understand whether it is possible to create a practice that is inspired by the eye of the storm. The main goal is to find a movement quality that supports simple actions like walking and running, as well as acrobatic feats without a difference in effort, mental fatigue or structural tension. To do this, we will search for high levels of awareness and precision so the body can react quickly to the changes in skeletal stress, and to maintain flow without unnecessary distractions. In classical acrobatic disciplines, preparation, climax and landing are being treated as completely different aspects while usually one is more important than the other. In Zen Acrobatics, the practitioner aspires to transform all 3 states into one motion that can ultimately connect to any other type of movement. Personally, this type of practice over the year has given me confidence, joy and a more calm and serene mind. It allows me to tap into somewhat of a child-like state, which supports me both in my artistic career and in my personal life.
About Tom and Roser
Tom Weksler has been practicing Martial Arts and different forms of acrobatic disciplines from a young age. Tom graduated in 2009 from “The Workshop For Dancers and Choreographers in Haifa”. Since 2010, Tom has been dancing with “Inbal Pinto and Avshallom Pollak Dance Company” and performed with the comapny’s productions in many theatres and festivals around the world. Tom is currently performing around the world the performance “Collective Loss Of Memory” - choreographed by “Rootlessroot” (Jozef Fruček and Lind Kapetanea) and produced by “Dot504”. Since 2017 Tom has been dancing with Guy Nader and Maria Campose Dance Company.
In 2012 tom has created 'LOBOS' in collaboration with Yogi Dekel and Breno Caetano. In 2014 Tom Created the Duets "SARU' and "Heder" in collaboration with Tokyo Based Dancer and Choreographer Mayumu Minakawa. Both Duets has performed internationally in various theaters and festivals. In 2017 Tom has premiered the Duet "Pilim" in Collaboration with Circus Artist Yogi Dekel. Since 2017 tom has also established an artistic collaboration with Catalonian Dancer and Choreographer Roser Tutusaus. The collaboration is currently in process of completing the theatre piece 'After The Rain' (premiered in Bari, Puglia in 2018) and the street piece "RISE".
Roser Tutusaus has graduated in B.A of dance from Artez Dansacademie, Arnhem (Holland) as well as journalism from, Universitat Autònoma de Barcelona. since then, Roser worked for different choreographers in Holland like Anouk Van Dijk, Giulio D’anna, Anouke De Groot and Erik Kaiel. She has also collaborated with several companies in Spain such as 'Transit Dansa', 'Enclave Arts Del Moviment' (by Roberto Oliván), 'Ana Eulate', 'Lamajara Collective' and 'Pere Faura' in the trilogy “Sweet Suite”. Currently she is working and performing internationally with the Company "Guy Nader and Maria Campos" in the piece “Time Takes The Time Time Takes” co-produced by Mercat De Les Flors in Barcelona as well as “Set Of Sets” to be premiered in Mercat De Las Flors in April 2018. Roser also created “Menar” a street duet with Joan Aatalà premiered in Fira Tàrrega 2016 and on tour for the summer of 2017. in parallel, and out of curiosity, Roser is also developing her own artistic work with two solos “Simun” and “Tecnologias Del Yo”. Which performed in various festivals and venues across Europe. Roser has been in dialogue with Tom since 2017, both on the creation of the Duet 'After The Rain' and development of a mutual dance practice.
Tom and Roser have established Wonderground Company in 2019, focusing on creations which are departing from the collaboration between dance, movement and other art forms.
Movement Archery workshops have taken place in Dance Schools, Circus Schools, Dojos and Professional Companies in: Israel, Italy, France, Belgium, Slovakia, Czech Republic, Greece, U.K., Ireland, Denmark, Germany, Switzerland, Norway, Finland, U.S.A, Canada, Mexico, Costa Rica, Brazil, Japan, Hong Kong and South Africa.
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Event Venue & Nearby Stays
Lenka Vagnerová & Company Studio, Na Košince 2175/8, 180 00 Praha, Česko,Prague, Czech Republic
Tickets
