More than any other performing artists, and certainly more than most athletes, dancers are at high risk for poor nutrition, eating disorders, and preventable, career-ending injuries. To address these physical issues, it’s necessary to examine the underlying causes. And to do that, we need to understand the dancer’s frame of mind.
Theatre can’t be preserved, you have to see and experience it. I often encounter this objection when I’m enthusiastically telling people about the Theatre Heritage collection that we conserve and manage. In large part, it’s true. The goose bumps, the shivers, the hearty laugh, the emotion: everything that’s aroused by a beautiful and outstanding performance can indeed not be conserved by us, as heritage curators for the performing arts. Nevertheless, by conserving a great deal of data and objects we can, as it were, reconstruct the performance.
While training, emotions affect the teacher and the student. Emotions are contagious and we need to learn how to deal with them to improve the quality of the training. A way to learn how to deal with those emotions, is to first of all create an awareness that there are in fact emotions. Even in the dancing world.
Here you can read the live report of the conference BEYOND ballet why and how by Visuele notulen. Read en watch the content addressing multiple themes that impact many levels of dance. The conference format facilitates content development over three days, presenting in-depth discussions and workshops that offer the opportunity to expand knowledge.