In the frame of Herbst Tanz 2017
This workshop focuses on the deconstruction of movement into technical basics that dancers from varied backgrounds can understand. Everyone learns. We work from the bottom up, from foundation to anatomically sound, honest movement. We work on the specifics of how one learns, how to analyse movement with the tools of weight, shape, space, rhythm and time. It is the investigation of working from the inside out, from placing the bones where the muscles are allowed to function effortlessly and efficiently, thus discouraging muscular overuse. We remove all artificial affectations, leaving just the core technique, the pure physical architecture of the body. The ultimate goal of this study is to appreciate function as beauty rather than striving for beauty from an outside source. Another very important aim of this workshop is to carry this knowledge into immediate application. This is a practical, technical course, not just a theory lesson. Everything discussed gets reconstructed back into movement. Participants see results from the work and can easily apply them to other forms of dance.
10:00 - 12:00 Piano accompaniment: David Bloom
In cooperation with HZT Berlin.
Janet Panetta looks back on an extraordinary career in American Ballet Theatre, as well a broad experience of contemporary dance forms. She danced with the Metropolitan Opera Ballet, The New York City Ballet Lecture Program and American Ballet Theatre. Changing venues she continued performing in modern and post modern companies such as Paul Sanasardo, Neil Greenberg, Nancy Alfaro, Robert Kovitch and Jerome Bel. She has been called, “one of the best performers in fifty years” by Jennifer Dunning of the New York Times. Deborah Jowitt of the Village Voice has said, “Panetta always dances like a woman of the world, elegant and slightly sad.” “Superbly powerful performance... She has a knowing, smoldering stage presence that is galvanic.” New York Times. Janet has trained dancers in many of the major ballet and modern American companies such as American Ballet Theatre, Paul Taylor, Cunningham, Limon and Trisha Brown. She has also been a guest teacher for many companies in France, Belgium, Holland, Germany and Sweden. She maintains a connection to Tanztheater Wuppertal Pina Bausch, Impulstanz Vienna, Ballet Cullberg and P.A.R.T.S. school in Brussels, while still teaching in NYC at The New School, and Gibney Center.