La afinidad entre la acción y el esfuerzo: una propuesta práctica sobre cómo utilizar el ritmo de manera expresiva (The relationship between action and effort: A practical proposal on how to use rhythm in an expressive context)
DOI:
https://doi.org/10.47197/retos.v0i24.34555Keywords:
Ritmo orgánico, Danza Creativa, Expresión Corporal.Abstract
Brant (2010), hace una propuesta práctica sobre cómo utilizar el ritmo de manera expresiva en la danza y en el movimiento creativo. En este artículo, hemos recopilado estos ejercicios para desarrollar este trabajo. Existen diferentes afinidades entre el cuerpo y el esfuerzo así como entre las acciones y los esfuerzos, en este taller, el alumnado jugará a probar con todas estas opciones y las trasladará posteriormente al movimiento creativo y danzado. La toma de conciencia de «estos ritmos» implica saber qué relación existe entre el uso de la gravedad, la tensión y relajación, e identificar dónde se sitúa el acento de cada la acción. En este taller también trataremos de que el alumnado aprenda a identificar los ritmos que Laban (1975) y Preston-Dunlop (1980) utilizan para el estudio del movimiento, y que posteriormente Brandt (2010) describe (continuo, balanceo, impacto…); a través de la observación de las acciones que realiza otro compañero o que visualiza en algún vídeo.
Palabras claves: Ritmo orgánico, Danza Creativa, Expresión Corporal.
Abstract: Brant (2010) makes a practical proposal on how to use rhythm in an expressive context in dance and creative movement. In this article, we have compiled these exercises to develop this work. There are different affinities between the body and effort and between action and effort, in this workshop; students will play around on trying all these options, using them in creative movement and dance. Awareness of «these rhythms» involves knowing what relationship exists between the use of gravity, tension and release, and identifying where the accent is placed in each action.The workshop will also focus on making the students learn to identify the rhythms that Laban (1975) and Preston-Dunlop (1980) used for the study of the movement, and later Brandt (2010) describes (continuous, rolling, impact ...); through the observation of actions executed by another partner or displayed on videos.
Keywords: Organic Rhythm, Creative Dance, Corporal Expression.
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