Body & Movement Awareness

By means of subtle body- and movementstudies scholars become acquainted with the human locomotor system and the mechanics of the body. they experience - directly and physically - own deep-rooted patterns of movement, learn to distiguish further and discover new possibilities of choice. With inner images, that are geared towards anatomical conditions, deep-seated tensions can be reduced and body-alignement can be improved. Everyday's movement and dance become more vivid, effortless and more distiguished, awareness and the connection between body and mind increase. Along with Feldenkrais it will be worked with Alexander-Technique, Ideokinesis, Alignment and similar methods

Movement Training

The sensibility for energy, presence and dynamics can be circumscribed as an alert, attentive and vivid state of the mind and the body in movement. Concerning our work this implies, to be aware of one's own energies, to discover and to develop them. Scholars learn to deal with vigour and agility, to express and to integrate them into the creative moment. In other words: they are taught to percieve with all their senses and to get ready for clear and adequate reactions. Along with principles from martian arts as grounding, centering, presence and responsibility, we work with simple forms, that broaden the own repertoire of dance and opens up new spaces. Sensation-exercises, that increase accuracy and differentiation of the senses, and movement-explorations complete the training.


New Dance Technique focusses on the interplay of tension and relaxation in the body and enhances natural flow of movement with minimal effort. Training is geared towards functional movement-education along with basic knowledge of the skeleton and musculature. It develops with aid of bodywork the ablility to percieve and to identify basic approaches to movement and their connectedness.

By means of directed impulses of movement or images basic techniques of dance as alignement, movability, flow of motion, directed effort, centering, balance/off-balance, coordination, bounce, sensibility to space, rhythm and musicality are trained. Movement sequences are acquired, that contain rotations, leaps, falling and rolling and rhythmic patterns, that will be learned and danced on the basis of the former.


The following issues will be worked on: invention of movement-material by means of special assignment of tasks, forming movement-sequences, playing with the forms in space and time, interconnecting the forms, sheathing, counterpoint, concretion, dissolution and work with differnt constallations as duett, trio, ensemble, etc. (s.a. composition).

Exploration, Improvisation, Composition


As a means exploration improvisation serves as method of creative research. Movement-material, mood and emotional content are analysed towards their quality and conducted to examination on the basis of artistic aspects as space, timing and dynamics. Technical basics as differentiating qualities of movement, transformation of movement, shifting, containing, accumulating, themes of movement and there variation, developement, phrasing, instant copy and tuning are worked on.

Training of physical and mental permeability leads to a more distinguished sensibility. The dancing persons are more tangible and the range of artistic expressiveness becomes enormously manifold. Sensitive and alert in reaction they can pick up inner and outer impulses and be in flow with the events around them. That means nothing else than to be aware of oneself every moment, and of the things one does and personates.

Improvisation - Instant Composition

Improvisation is a way of composing the moment. In free improvisation as a form of art, the course of action is yet unknown and evolves step by step with the decisions of the involved persons. It features provocation of authentic and spontaneous reactions and offers immense liveliness and logic. It demands technical skill, uninhibited access to creative ressources and artistic experience.

Special alertness and clarity are aimed to the realization of the interconnectedness of spontaneous action and compositional principles, how they serve each other, how they irritate each other and how they intertwine. Improvisation is beyond arbitrariness.

The special potency and strength of improvised courses are caused in the interplay of the ability to be obliged with body, material and situation and equally to be able to give space for spontaneous events. Thus stage-ready improvisations infused with profoundness and easiness can evolve - sometimes seemingly hopeless standoffs are taken as a chance and provide a basis for discovering the unpredictable.


Work with improvisation has already pointed out basic compositional elements. In the following course all the findings are considered under the aspects of the generation of a dance piece: ideas, themes, material - finding and realization for a start, f.e. purpuseful selection of movement-material, free or fixed, the arrangement of time, the working out of the dramaturgy (timing), beginnings, transitions, endings, the construction of space, places, passings, surface, layers, perspetives.

One has to deal with application oder intented abandonment of music, speech, media, costume, objects, stage design, and last but not least with the question of style: dance-theatre or abstract dance, collage, arrangement of fragments, narrative or imaginative, atmospherical landscapes. Directed tasks will help to explore and work on these questions and components.

Contactimprovisation / Partnering

At first C.I. ist a basic movement-training of the kinesthetic senses - it leads from sensitive perception of the own body in silence and action, of the floor, of the partner, through smooth and powerful bodywork, to adeqate and quick responses in acrobatic dance.

It is improvisation in its real sense - every movement develops directly in the moment from the interplay of two bodies and gravity. This dance demands the complex ability, to commit oneself to the shared flow of motion and to percieve the events at present, so that this flow can be guided anytime.

Direct physical communication is a rich and expressive language. It holds surprises and authentic reactions and opens new artistic possibilities and challenges. We use C.I. as basic training, improvisational skill and compositional component.


In solowork the dancing person is supported on the quest for his or her own aesthetics and expressiveness. By means of improvisation and/or directed tasks, as f.e. specifications of space, music, images, objects, costume, text or material of movement individual strengths can be discovered. Our intention is not to cultivate a certain (our) style, but to help to find through intense research and examination to an authentic personality of the dancing person.


We prepare for the professional stage-situation. Along with the work on presence, inner power and charism, awareness as well for self-perception as for the perspective of the spectator is sharpened. To sound the limits, to outgrow befindlichkeit, to develop the ability to put personal experience into a wider context as well as into cultural-historical relation, are aspects we will work on. Thus to clarify the question of the intention of a dance-piece - what do I want to provoke, what do I want to initiate?

Furthermore training contains the inner and mental preparation for the performance. The ability to communicate on matter and design of the piece and not least critical facility are featured too.

Schelf-developed and -acquired pieces on continous showings. This process is attended to tor.

Alongside there will be research in different locations, as natural spaces, public places or interesting buildings, and dancing encounter with artwork. The education ends with an performance, in which the scholars present on several evenings self-produced dance-pieces. This process too - from the idea to the piece to the performance - will be tutorically attended and covers also organisation of the performance in personal responsability: press, public relations and programming.

Rhythm / Musical Analytics für Tänzer

We get to know, learn and practice different rhythms and find a way of treating rhythm in dance with awareness. Thus to develop own rhythmical sequences or to transpose rhythm into dance. To analyse music and to transform musical patterns into dance, to make music with the voice or with instruments, the encounter of music and dance in improvisation and composition are topics of this teaching unit.

History of Dance

We give an introduction and an overview to the history of dance from renaissance to the 21st century with emphasis on the 20th century and new developments in dance, looking at determining personalities, contemporary dance, conceptual dance, and trends at the biginning of the third millenium.


We have a close look at the anatomy of movement, the mechanics and the functions of the body (the skeleton, the muscular system), both theoretical and practical.

German / Social Studies

We will deal with litarature of dance, videos, critique, profiling for advertisement (print and online), advancement of communication and the exposure to self-employment (contracts, assurances, etc.).

~When I improvise, there is a lot more I'm deciding not to do, than I am deciding to do in my body~
(Lisa Nelson)