By Experience Bryon
Integrative functionality serves an important want of 21st-century performers via offering a transdisciplinary method of education. Its radical new tackle functionality perform is designed for a weather that more and more calls for absolutely rounded artists. The publication reviews and interrogates key present practices and gives a confirmed substitute to the concept that rigorous and powerful education needs to separate the disciplines into discrete different types of performing, making a song, and dance.
Experience Bryon’s Integrative functionality perform is a manner of operating that would profoundly shift how performers have interaction with their education, conditioning and function disciplines. It synthesizes some of the components of functionality paintings as a way to empower the performer as they perform throughout disciplines inside of any style, type or aesthetic.
Theory and perform are balanced all through, utilizing:
- Regular box-outs, introducing the work's theoretical underpinnings via prices, case experiences and important interjections.
- A complete application of workouts starting from education of particular muscle mass, via operating with textual content, to extra refined constructions for integrative expertise and presence.
This publication is the results of over 20 years of perform and learn operating with interdisciplinary artists the world over to supply a coaching that totally prepares performers for the calls for of up to date functionality and all its somatic, emotive and vocal possibilities.
Read Online or Download Integrative Performance: Practice and Theory for the Interdisciplinary Performer PDF
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Extra info for Integrative Performance: Practice and Theory for the Interdisciplinary Performer
Sample text
In this way, performativity may not offer a set practice, but it will help us to deconstruct some of our conventions, habits, and even lived-body patternings in and out of the studio. Through this lens we begin to see that the relationship between the performer (A) and the performance (C) is not linear and goes many ways. It further opens out “performance” as a term raising new questions to do with intentionality in the phenomenological sense and cause and effect in the scientific sense (more on this in the next chapter).
An important consideration here is that those of us who have taken the practice of dance to a professional level often started at a very young age, sometimes before adolescence and before a full development of our frontal lobe (see first section), which arguably allows the practice to categorize and define the boundaries that help to mould the adult self. As vocalists, we generally start the serious training later. It is inadvisable to train the voice until our breath-body is fully developed; for most, this is between the ages of eighteen and twenty-seven.
One thing to note here is that reliance on personal narrative is often a public relations device in the performing arts. “Backstory” is a somewhat over-fetishized construction in our industry. The most extreme instances of this trend are seen on WHO IS AN INTEGRATIVE PERFORMER 25 “reality” talent shows and TV depictions of our industry that tend to misrepresent the integrity of practice and the reality of life as a performer and rather focus on self as a narrative/subject in search of fame/object.