After a successful and sold out event in Vienna last year, Tom and Roser are coming back to The Unity Dance studio and this time to share their new workshop Conditioning And The Natures Of Partnering!
— A three day event —
Dates: 5 – 7 June 2020
Friday | 14h to 17h
Saturday & Sunday | 10h to 13h
Saturday & Sunday | 14h to 17h
Early Bird 225€ (Until March 31st)
The Unity Dance Wehlistraße 66, 1200 Wien
Tom and Roser Conditioning approach is based on two main goals: Priming and Longevity.
Priming refers to the ability and the quality of coming to practice in the best condition and state. Longevity refers to the ability and the quality of spending time and energy within an activity without it becoming self destructive. Since communication through movement is one of our main activities we try to find certain comfort and confidence in risks which may arise while interacting with another body. We found that many of those inevitable risks become set-backs when there is lack of strategy to deal with them. Strategies can vary between specific focus on mechanisms and coordinations, to ideas which involve the whole body. This approach is embodied through dictated techniques and draws awareness to certain instincts which humans posses originally, but sometimes take for granted. We address the difference between lower to upper body strategies and several concepts on how to work those two parts as one total mechanism, when needed. We believe that confidence and playfulness are two main qualities which should guide our choice of conditioning. Finding them is the first step in the fascinating journey of understanding ourselves better through our physical activity.
The Natures of Partnering
If dancing alone is a relationship with imagination, dancing with a partner is a relationship with reality. We believe that these two skills are fundamental and relevant for each other but if we practice one without consciously looking for the creative connections with the other, it is hard to sense and experience the actual benefit. In that sense, virtuosity and skill will appear when the line between imagination and reality slightly fades away. And then, solo dance and partner dance becomes inseparable.
Another topic would be how we read the space, the other body, and the space of the other body. This does not necessarily mean changing the shapes or forms which we create with our own bodies. It will lead to questioning the communication and the dialogue, which has endless developments and a very large potential.
Dancing with another person is constant acknowledgment of the unknown. This is actually not an abstract or spiritual concept but it’s rather a technical and concrete understanding of the reality of partnering and collaboration through movement. Since Contemporary Dance and Contact Improvisation are based on the idea that the dance will be reinvented while dancing and repeated (which makes the difference between folk art to contemporary art) any unnecessary speculations about my partner will lead to rough technical choices and limitations of the flow of the actions. Understanding that no matter how good my technique is, I still need to make a space to re-evaluate the situation and listen to the ambitions and the needs of the other moving body. We believe that this will allow space for applying appropriate techniques and hopefully propose new ideas which haven’t been tried before.
– Tom Weksler Bio –
Tom Weksler began practicing martial arts and various acrobatic disciplines from a young age. After graduating from ‘The Workshop For Dancers And Choreographers’ in Haifa Israel in 2009, Tom went on to perform with the Israeli Opera and then with ‘Inbal Pinto & Avshallom Pollak Dance Company’. after having toured extensively and internationally, Tom later became a performer with Rootlessroot under Jozef Fruček and Linda Kapetanea in their work, ‘Collective Loss Of Memory’, which was produced by the Czech Company DOT 504. in 2014 Tom created two duets, ‘Saru’ and ‘Heder’ in collaboration with Tokyo-based dancer and choreographer, Mayumu Minakawa, which were performed in many theatres and festivals in Europe and Japan. Since 2014 Tom has also been collaborating with Circus Director and Performer Yogi Dekel, creating together both the Quintet Lobos which was coproduced by the Israeli Council for Culture and Arts and ‘Mifal Hapais’, and the Duet ‘Pilim’ Co-created with ‘ON center for Contemporary Circus’ and ‘Bat Yam Festival for street Theater’ in 2017 Tom joined Guy Nader & Maria Campose for the creation process of ‘Set of Sets’ in Barcelona. Since 2017 Tom has also been collaborating with Roser Tutusaus, creating together the Duet ‘After the Rain’ and practicing dance. Tom has been teaching in various Dance Schools, Universities, Circus Schools, Dojos and Dance Companies all over the world.
– Roser Tutusaus Bio –
Roser Tutusaus has graduated in B.A of dance from Artez Dansacademie, Arnhem (Holland) as well as journalism from, Universitat Autònoma de Barcelona. since then, Roser worked for different choreographers in Holland like Anouk Van Dijk, Giulio D’anna, Anouke De Groot and Erik Kaiel. She has also collaborated with several companies in Spain such as ‘Transit Dansa’, ‘Enclave Arts Del Moviment’ (by Roberto Oliván), ‘Ana Eulate’, ‘Lamajara Collective’ and ‘Pere Faura’ in the trilogy “Sweet Suite”. Currently she is working and performing internationally with the Company “Guy Nader and Maria Campos” in the piece “Time Takes The Time Time Takes” co-produced by Mercat De Les Flors in Barcelona as well as “Set Of Sets” to be premiered in Mercat De Las Flors in April 2018. Roser also created “Menar” a street duet with Joan Aatalà premiered in Fira Tàrrega 2016 and on tour for the summer of 2017. in parallel, and out of curiosity, Roser is also developing her own artistic work with two solos “Simun” and “Tecnologias Del Yo”. Which performed in various festivals and venues across Europe. Roser has been in dialogue with Tom since 2017, both on the creation of the Duet ‘After The Rain’ and development of a mutual dance practice.
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