Class descriptions

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CHING-YING CHIEN
Touching beyond

This class will involve various contemporary techniques and combination of east Asian/Western physical culture and thoughts.

Discover the connection of breathing and core to switch texture.rhythem.dynamic and quietness of movement.Also by leading improvisation and character/animal play to inspire own unique way to move and finding personality as a performer.

MAX MAKOWSKI
Company Class

My class focuses on connecting to our senses through movement and imagination and aims to create a strong awareness of our body through improvisational tasks. We will work on versatility by experimenting with different energies and qualities. I believe that music is a very important impulse for dance, therefore it has a big role in my classes – to inspire, to drive, to challenge and especially to get the groove on. I usually go with the flow of the group, and will offer a choreographed sequence in which we explore previous elements within the set material. I focus mostly on the personal performative and visceral aspect of choreography.

JOHN SIMON WIBORN
Limit Less

In this class we will explore ways to open up our bodily awareness and find new directions for it,  by deepen in to a more multidirectional mentality. This exploration is for every body type and intend to support the personal physical development.  Using tasks and improvisation, we will go from imagination to our physical capacities of the body and let the state of transcendence bring us to new physical possibilities.

PÉTER JUHÁSZ
Silent Speed

The first part of the class focuses on floorwork through a short series of improvisation tasks and various excercises, aiming to reach moments when we can use our own SOFTNESS and SILENCE. Applying these principles a floor sequence will be taught  as a closure of the first part.

In the second part of the class we put emphasis on SPEED and DYNAMIC CHANGES, awakening and facilitating awareness of the power and skills related to them. Class ends with learning a longer dance phrase combining the principles mentioned above.

NATALIA IWANIEC
Gaga/Dancers

These classes last for an hour and fifteen minutes and are taught by dancers who have worked closely with Ohad Naharin. Gaga/dancers classes are built on the same principles as Gaga/people classes but also employ the specific vocabulary and skills that are part and parcel of a dancer’s knowledge. The layering of familiar movements with Gaga tasks presents dancers with fresh challenges, and throughout the class, teachers prompt the dancers to visit more unfamiliar places and ways of moving as well. Gaga/dancers deepens dancers’ awareness of physical sensations, expands their palette of available movement options, enhances their ability to modulate their energy and engage their explosive power, and enriches their movement quality with a wide range of textures.

Gaga/dancers classes are open to professional dancers or advanced dance students ages 16+.

CSABA VARGA
FleshBoost

I’ve been encountered many different moving forms. I aim to apply those principals of these movement languages which I find the most significant. I’m interested in movements which are dynamically diverse, specific in coordination or rhythmically unique. For dancers it is essential to be in excellent physical condition to be able to execute whatever their imagination asks from their body, so the goal of my training is to give physical and technical base to be able to perform the things we work on later.
First we start with a warm up: a leaded improvisation in which we gradually increase the size, speed and difficulty of the movements, using the floor, the air, the space, the tension of the body. We continue with a physically challenging training which strengthens and prepares our body for the following technical (floor and aerial) part. Finally we take time learning a complex phrase and work on the subtle details as we are enjoying dancing it.

ESZTER GÁL
Waking up Attention

The morning warm up sessions will offer a preparation for learning and experiencing movement from within, to work on our own movement vocabulary and prepare for exploring the diverse qualities of the dances through the day. There will be playful tuning exercises, games, working with a ball, working with a partner, practicing simple moves aimed at generating heat and coming to alertness!

GYULA CSEREPES
Lizard Beats

Listen. Observe. Sense. Hear. See. Dance. Rhythm is a universal language that every living being is able to understand. Yet, in general dance education this essential element gets little or almost no attention. Learning the “words” of this language, the beats, can reach beyond just dance practice – we can apply it in almost every segment of our everyday life.

Lizard Beats – a method developed by Gyula Cserepes, which is rooted in his rich dance background ranging from ballroom- through traditional- to contemporary dance – aims to enrich our movement vocabulary. Working with various tools to embody rhythm, we develop certain neural connections in our brains, which help to fine-tune our motoric system, coordination skills and physical articulation. It brings a higher body-awareness; as well it improves our cognitive skills, ability to focus and the control over our physical bodies. Above all, attending a Lizard Beats class could easily shift our mood and we end the day with a big smile and feeling better in our skin.

Lizard Beats consists of two main sections. One is the technical part where we tune in as a group through Chi Quong and playful group tasks. Followed by various coordination exercises, we teach our brain to isolate different body parts and their movement from one another. Practicing this consequentially leads to be “here and now”, to be “present”. Learning and practicing basic body-percussion principals we teach our bodies to listen and sense rhythmic patterns, which also help us to gain a deeper understanding of music. Using jumps and coordination exercises we begin to gain an understanding of basic rhythm patterns and apply them into our bodies.

The second part happens in a more free form. We enter a guided improvisation in couples and smaller groups. This helps to discover the dance within us. Each participant gets the chance to get in touch with her/his personal dance, discover and develop it. The introduced tools help us to get more relaxed about the way we move and could be applied in further dance practice, as well in any sort of social situation where we would feel like dancing – let it be a party, a wedding or hearing a beloved tuned on the radio while cooking in the kitchen.

DÁVID MIKÓ
Spiral Wave

The aim of the workshop is to create a motional vocabulary in which we create a passage to manage our energies, transfering them symmetrical and asymmetrical way. We use the energie of the whole body.

The emphasis is on the soft body in what the impulse goes through in a spiral way. It helps to coordinate the arms and to create dynamism over softness. During repetitions we create a homogeneous flow quality in what we also be able to change the force level. With vibration we coordinate the pace and dynamics.

MÁTÉ MÉSZÁROS
Partnering

Our body is the same in every movement and in any style but the possibility to change is essential. We focus on the principal of adaptation during the workshop.
Through several exercise we establish a strong and united body. We focus on the timing and the sharp reactions towards our partner while we practice together.

The material is based on several different ways of partnering that I learned throughout my practices and on material I developed during creations and research.
Dynamic and powerful dance where we only deal with physicality that defines the essential movements.

On the workshop we go through various combinations to experience power, support, speed, acrobatic movements and the unique feeling of connection.

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