Juggling and rhythmAccompagnement
Movement & Musicality
Beyond the rhythmic and gestual work, this course offers you the opportunity to reflect on the aesthetics of the juggling « number » and to address the fundamental concepts related to its composition by focusing on the rhythmic work, conscious gestures, writing & composition, and finally the musicality and the expressiveness.
Each work stream will be addressed at the pace of each person during the Course:
You will begin with a series of warm-up exercises – rhythm in clapping, exercises related to movement and to the Dalcroze pedagogy that will lead you to integrate the notion of cycles and to represent yourself the architecture of musical cycles. We will also work to identify the measures in music, their binary or ternary characters in order to better rely on them so that our juggling sentences can be better valued.
Afterwards, we will carry out a little « gestual cleaning », by working on the anchoring on the ground, the fluidity of the movements, the sharpness of the postures, and the dissociation; in order to find the body positions that best suit the movements impulsed by the object.
Work of respiration, centering, relaxation: work to release our energy block to regain an availability favoring creativity…
We will also work our sense of balance on one leg (or on two supports), or stopping in imbalanced postures….
We will also explore the relationship to the ground, how to go to the ground and get up using a minimum of support…
We will take some time to find our juggler’s “routines”, to reappropriate them to work better with it, because the process of entering one’s vocabulary into rhythmic cycles requires a perfect mastery of one’s juggling technique.
Juggling balls and sledges, Diabolo and devil’s stick…
APPLICATION OF OUR JUGGLING TECHNIQUES
Lean on music / give the music to see…
In a second time we will apply the rhythmic work to our juggling phrases that we will try to insert into rhythmic cycles. We will learn how to manage the speed of execution of our movements to stall the stops at the beginning of the measurement, and to identify the times and the setbacks to better value the «rhythmic accents» present in our sequences…
We will also start from songs with easily identifiable phrases and try to visually represent them so that our gesture is as impregnated with the emotion and colors that the music conveys.
Draw in space
During this research phase, we will try to raise awareness of the forms we give to see, and the path we write in space.
We will also look for associations between the movements of the body and those of the object…
Which body positions are best suited to object-driven movements?
Resonance in the body (correspondence between the object and a part of the body, e.g. the object on the ground // the body on the ground).
The object as an extension of the body.
We will also start from constraints of displacement (carrying out its sequences in a course….).
Exploring the impact of music on movement phrases
We will experiment how different music can bring different dynamics for the same juggling phrases and analyze what they induce in terms of pulsation, rhythm, dynamics, and how to play with or against these elements in order to question the relationship between sound & movement.
The writing or the composition
Then you will explore the notion of ‘phrase’ – beginning, development and conclusion – through out the composition of patterns or how to articulate these different sequences.
With Gaspard, you will interrogate the aesthetic of the writing of the solo juggling ‘number’: the stage entrance, the crescendo construction of the number, the stops, the breaths, and the visual leitmotivs. Furthermore, you will discuss collective writing with one, two or three jugglers (synchronization & complementarity).
Be, Play, Propose an universe
At the end of the course, you will question what your presence tells you and identify the playing fields that may result from it: play with the object, play with the audience, state, impact of the music on the presence, intention to play, how to manage the look, make room for one’s personality or disappear in favor of the visual proposal?
In order to look for leads to create ‘the universe of the number’.
For more information contact Gaspard Herblot: email@example.com