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James501
April 5, 2007, 7:43pm Report to Moderator
Dancers & Coaches
DANCER18
Posts: 6
What questions would you like to ask Gloria or the TPL Team?

I would like to know if besides masks being incorporated into dance by placing them on the dancers face, could you also do it with body wear?

How would that look to the audience?

I think it would be excellent to have the dancer move slowly as the other dancer tries to place the mask on the other dancers face and then eventually completes the task.  

What do you think of the idea?



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gloria mclean
April 12, 2007, 6:07pm Report to Moderator
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ADMIN 4
Posts: 10
JAmes,

Yes to everything! Yes to all of your creative ways of using the ancient technique of the mask. The answer is: Try it.  You will find out what works simply by doing it and seeing how you like the result, the effect; seeing how to make the images come alive, and how the children also respond to what you do and ask them to do.

I think it's a marvelous idea.

I wanted to do a little more choreography in our class so you would have the experience of working in the mask and moving in many ways. But you are onto it.

I emphasized the "formality" of putting on the mask to bring out the notion of transformation, which is the essence of wearing a mask, or as you say, a fuller costume that changes the performer from his/her "natural" self to some other kind of creature.


G.
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kmarsuny
April 13, 2007, 2:05pm Report to Moderator
Dancers & Coaches
DANCER19
Posts: 3
My questions are more about the formalities of using this technology in the classrooms.  

Have you ever encounter a difference of opinion between you and the instructor of the class you are interacting with?

Do you think this technology should only be used to bring in specialists or is there value in connecting classes to have a collaborative project?

What, if any, is the "red-tape" situations we should look out for when trying to incorporate this technology into classes?  ie: Budget justifications, tech support etc.

Thank you,
Kelly
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RAH
April 13, 2007, 8:20pm Report to Moderator
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Posts: 32
Time Online: 11 days 4 hours 27 minutes
Dear Kelly,

1. Difference of opinion: yes, of course, but that is the thrilling thing about interacting with others — they do not necessarily think the way we do!!

I am a little taken aback by the question. Why would there NOT be differences of opinion?  The purpose of the Interactive Exchange is not to impose one set of ideas on another population — but to "exchange" — to have a give-and-take.

2. Now, you have experienced only a kind of "one-way" interactivity: the expert dancer came and taught you.  In fact, often our very best exchanges have to do with peer-to-peer coaching — in that case, everybody learns from everybody else. And it is one big classroom — no difference from near to far!

So — YES to collaboration. On the TPL website, there is the ghost of a major project on scriptwriting; I think you get to it by clicking on the frog on the home page.  I say "ghost" because some creep hacked the national server and all of the BRILLIANT exchanges that led to the collabortaive scripts were erased!!!!

Another such project had to do with IMMIGRATION featuring wonderful acting work/improv by HS students.  Click on  (I think) TPL & DRAMA. Those clips are streaming, so you could get an idea of what drama over space might be like. Thse scenes were all improvised interactively in one session in an afternoon. Kudos to the kids and to Kathleen Gaffney of ArtsGenesis, I may say.

BUT YES!!! Collaborate! That is what the idea of partnership is about. All those names on the "WHO WE ARE" pages are collaborators, and true partners.

3. RED TAPE: you and your pastners MUST COMMUNICATE!!! The DANA project has been plagued by communication problems with University partners; this has occasionally proved troublesome in past, but less unwieldy than this time and less so when we have dealt with secondary and elementary schools.  

Please, as an introduction to the "red tape" issues — which, I admit, can appear daunting — consult the "HOW WE DO IT" pages.  They give you lots of pointers.  And, I or Dale or Diane Aldis — or any of our other partners (should you spot someone you think could help you) will I am sure be willing to talk about any problems or concerns you may have.

The single most important thing, however, in becoming a good interactive coach/mentor is to JUST DO IT!!!! It looks as if our coaching session on the 20th is off — but if you feel strongly about wanting to learn more, I'd talk with Ms. McGhee. She can guide you.
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kspasunybrockport
April 30, 2007, 12:36am Report to Moderator
Dancers & Coaches
DANCER25
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I think this interacive exchange has been a great way to connect and share with others.
My questions:
Do you think this will catch on in schools nationwide?
Would you consider going international like England or Australia?

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RAH
April 30, 2007, 3:25am Report to Moderator
Administrators (DANA)
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Time Online: 11 days 4 hours 27 minutes
Dear kpasunybrockport,

We have already taken TPL to an international public at the Monaco Dance Forum — back in 2003, I think. We have talked with a lot of folks in France and Germany about exchanges —  and the Arab world is ripe for exchanges, too. The cultural exchange is as important as the artistic medium, as I am sure you understand.

"Sharing." Yes.

I really believe that the future is international exchanges, as you intimate.  On the TPL website, go to WHAT'S HAPPENING and check out the .pdf of TPL World Bridge — not funded, this time 'round — but a lovely idea.  You inspired me, so I put up a listing of some current ideas we are working on. Click on NEAT PROJECTS.

Perhaps you will be our first interactive coach!!!! (Or your classroom, the first test site!)

Australia is very advanced in media —  we have done some looking there, and our efforts may result in a project.

For the moment, 'though, we want to do better what we do now.  Next year, we hope to do a wonderful project with The Alvin Ailey Company — AILEY: 3 Generations, it's called. Three great dancers from different decades (!) will teach Horton Technique©  — and then we will end by dancing together an Ailey masterwork, coached by the great dance artist,  Dudley Williams.

So, you see, we have a lot to do right here.

Of course,  all of this must be underwritten/funded.  And that takes time and energy.

The TPL  Model will "catch on," I am convinced. I may not see that time — but it's on the road!!

Thanks for the question!

Rick

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