Kadri Sirel

“INDIVIDUAALSE KEHATUNNETUSE ARENDAMINE GRUPIÜHTSUSE NIMEL” (juhendaja Raido Mägi).

LÜHIÜLEVAADE: 2014. aasta septembrist kuni detsembri keskpaigani olin liikumisjuht Tartu Ülikooli Viljandi Kultuuriakadeemia (TÜ VKA) ja Ugala teatri ühisprojektis, milleks oli jõululavastus ”Hiired on hiired”. Protsess tipnes esietendusega 8. detsembril. Lavastajaks oli Oleg Titov ning laval lõid kaasa TÜ VKA 11. lennu näitekunsti õppetooli üliõpilased ning lisaks kolm tantsutudengit. Tööprotsessi teatritudengitega valisin oma lõputööks eelkõige, kuna tegu ei olnud mitte tavapärase õpetamisolukorraga. Õnnestumis- või ebaõnnestumisfaktor oli protsessi vältel kaasaskäiv ning jälgitav. Fookus oli selgelt suunatud lõpp-produktile ja selle täiusele, milleks oli perfektsuseni lihvitud tants laval ning eesmärgini jõudmiseks oli aega vaid loetud kuud.
Tantsuõpetaja kutse lõputöö oli edasiarendus siinkirjutaja kaitstud seminaritööle „Kehaline individualism“, milles jõudsin järeldusele, et individueerunud tantsija on grupi suhtes empaatilisem. Antud lõputööga andsin eelnevalt kirjutatud seminaritööle ka praktilise ning metoodilise lisaväärtuse. Lõputööd kirjutades tuginesin seminaritöös jõutud järeldustele ning kogemusele Gaga liikumiskeelega töötades. Samuti Soili Hämälaineni artiklile „The Meaning of Bodily Knowledge in a Creative Dance making Process“, Peggy Hackney raamatule „Making Connections. Total Body Integration Through Bartieneff Fundamentals“ ning Franco Ruffini Teater.Muusika.Kinos ilmunud artiklile „Stanislavski „Süsteem““.

Kadri Sirel
töö autor, üliõpilane
TÜ Viljandi Kultuuriakadeemia

 

LÄBITUD ÕPPEKAVA: tantsukunsti õppekava.

ESTER DSpace

SUMMARY: „Developing individual bodily knowledge for group unity”

From September until the first week of December 2014 I was a choreographer in a collaborative project between University of Tartu Viljandi Culture Academy (UT VCA) and Ugala Theater. The project was a childrens Christmas musical „Mice Are Mice“. The work process started in September, movement rehearsals in the beginning of October. The process culminated with a premier on the 8th of December. The director was Oleg Titov and the second year theater department students of UT VCA and also three dance department students participated in the process.

The reason why I chose the work process with actors as my pedagogical diploma was the unconventionality of this teaching situation. The factor of success/unsuccess was present throughout the process. The focus was clearly on the final product – perfect, synchronized dance on stage and there were only a few months to reach this goal. In this present, written part of my pedagogical diploma I describe my work process with the actors and introduce and explain the work method that I chose.

In this paper I explain the purpose of my pedagogical diploma that was to develop individual bodily knowledge for group unity. Therefore, I chose to devide my work process with the actors into dance classes and movement rehearsals. The goal of the dance classes was to work with their individual bodily knowledge and the practice of physical presence, assuming that sensitive and intelligent body is more capable to react to and adapt with changes within the group.

Following this, I explain my definition for group unity in this production-specific context. As the aim of my work with the actors was on teaching, rehearsing and polishing the dance numbers to be clear in form, synchronized in group performance, yet alive and playful, then group unity stands for the synchronized quality of performance. I Introduce excercises and key-words that I used when working with group unity and analyze what how developing individual bodily knowledge influnced reaching this goal.

Then I analyze the work process as a whole. I introduce the structure of dance classes 26 and describe and explain why and how it changed throughout the process. I analyze how the dance classes helped with learning choreographed movement material. I come to the finding that I succeeded in my goal and that the work method I chose – developing individual bodily knowledge for group unity brought the necessary results. The dance numbers were clear in form, synchronized in goup performance, but alive and playful. Last but not least, I analyze my experiance as a teacher, I explain my viewpoints, introduce some problems I faced and most importantly, what I learned during the process.