RESPIRO E MOVIMENTO®

DISCOVER YOUR REAL POTENTIAL

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Feedback after 2 semesters lessons with Giuseppe Ravì at Max Reinhardt Seminar – University of Music and Performing Arts Vienna.

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Today is the 1st of February, a day which means a lot at University of Music and Perfomring Arts Vienna. Today students and docents can finally have a break after an intense winter semester. We all, as docents, try to do our best, not only during our lessons, but supporting them as much as possible in any situation. There are so many great things happening all the time at MDW. It’s unbelievable. I have seen so much enthusiasm and passion from my Colleagues at Max Reinhardt Seminar and Institut für Gesang und Musiktheater. I am grateful for working in such a great context. I personally have a question in my head after a “journey” with my students. I know what I teach them and I know what they achieved. But what do they feel that they have learned from the work that we have done together? The best way to have an answer to this question is.. asking them. So, after having worked with my students – actors for 2 semesters… I asked them.

Giuseppe Ravì

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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Detect The Details – Reworking Technique In Class

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How can we create a greater focus on plié in class?

Texture. We can play with different speed, rhythms and texture with plié in class. A slow, continuous, four count plié that has a melting quality will feel very different than a quick and light two count plié that has a bouncing quality. A dancer who understands the physicality of each will understand the reason why one might be better served than the other depending on the movement or circumstance.

Core Strength. To feel comfortable working in a deeper plié, dancers need to develop their core strength to easily maintain their posture. Once the dancer is connected to their core, they will have an easier and more enjoyable time working through transition steps with ease. They will also be more likely to take risks in how much they travel through the space and play with level changes.

Feel Their Feet On The Floor. The more a dancer can feel an even weight distribution between their feet, the more they will pay attention to the connection they feel from their core through their leg. The dancer who pliés while feeling their feet spread and open on the floor will have a different connection to their entire leg line through plié than the dancer who is gripping their toes. The dancer that can open their feet will also become more aware of how they are using them in other transitioning movements through plié.

Finding Opposition. A plié is a movement that expands in all directions, but many dancers think a plié simply goesdown. If the dancer has an understanding of the contrasting directions of a plié, they will find more length throughout their entire body to support their movement. By finding more length, they will be able to feel their lines differently and find more release and grounding.

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