RESPIRO E MOVIMENTO®

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Respiro E Movimento

The Art of Movement

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The Art of Movement

NYC Dance Project – husband and wife team, Ken Browar and Deborah Ory – have produced some of the most widely circulated images of dance on the internet. Leaps and other gymnastic feats will always be shared and liked more than most, but what makes Browar and Ory’s photos stand out is that they communicate not just movement, but interact with the viewer on a personal and emotional level.

Some of their photographs are now gathered together in a sumptuous new book, The Art of Movement,where they have been beautifully reproduced and bound; a worthy frame to enhance their work. The book’s title is a modest one, because the art of movement comes from their subjects, but it is the art of the photographer which captures it so vividly.

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Dance ‘Vortex Temporum,’ a Sensual Blend of Music and Dance

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Vortex Temporum

The Belgian choreographer Anne Teresa De Keersmaeker has always been known for her sensitivity to music, visualizing sound in ways both mathematical and mystical. But in her 2013 “Vortex Temporum,” she delves more deeply than ever into the relationship between music and movement, musician and dancer.

An interpretation of Gérard Grisey’s score of the same name, “Vortex Temporum” brings together seven dancers of her company, Rosas, and seven members of the contemporary music ensemble Ictus, setting them all in motion (even the grand piano dances) on a stripped-down stage. This intimate conversation between choreographer and composer seemed to merit a conversation between critics versed in different ways of listening and looking.

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As an Actor, You Need the Mindset of a Warrior

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The mindset of a warrior

You will have to deal with rejection, dream stealers, criticism, insecurity and the massive highs and lows that are just part of ‘normal’ life for an actor. Not just deal with it but stay focused and positive through it all. You need the mindset of a warrior…

And you can have it.

But like anything worth having, you need to work at it. That is why this training is so important.Not only will this help you with your acting but it’ll help you in everyday life­ if you follow my advice and do the tasks regularly, you will see big changes in how you feel about yourself, your capabilities and the possibilities that are out there for you.

Learning to be in control of your own mind gives you freedom. We can’t choose what happens­, but we can choose how we react to it. I can almost guarantee that everybody can think of an example of someone who has been through hell but is still able to smile and move forward with their life, and somebody else who has crumbled at something that doesn’t seem that important to most people. The difference here is mindset.

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Meet The Artist: Lawrence Dunn, composer

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What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Perhaps the most specific challenge is working with musicians whom you don’t know—but it’s also a pleasure too. Music is a way of ‘knowing’ others—composers and performers knowing each other, listeners knowing composers knowing performers. As in, it can be hard to see into someone else’s mind; knowing other people is hard. Music, when it’s good, can reveal much about the person who made it; performers can reveal much about themselves in a piece’s development and rehearsal and performance. This is why it can be so amazing to write for musicians who are already your friends; it can deepen or enrich a relationship in a very singular way.

Of which works are you most proud?

I have to say, I was pleased with this piece that I wrote for John and Marie. It fell into place lightly—but I think securely. It’s difficult to be proud of one’s pieces—one can be immediately after one finishes (perhaps more ‘satisfied’ than proud). But later on when they’re set in aspic and difficult to alter significantly one always sees their flaws or problems or naivities—one just has to move on to the next thing. I’m quite proud of a few pieces I wrote as a teenager—but I wonder if that’s because I’m proud of the teenager who wrote them. But I have no idea about the recent music. I wrote an orchestra piece recently—I still don’t know how I really feel about it. But then I’m still convinced that the next piece will be the best one. I wonder when one snaps out of that.

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