Floor Barre E-Book

Alex d'Orsay

• Herausgeber: Youcanprint
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2017

Beschreibung

A handbook on the tecnique of floor-barre conceived by Alex d’Orsay and written by the creator.A work on the floor expecially conceived for dance teachers and professional dancers which can also be used by amateurs interested in improving any tecnique, be it classical, modern or contemporary dance.The aims of this method are: a perfect alignement, an improvement of the turnout, a postural awareness, the strengthening of all the core and the back muscles.The work on the floor by Alex d’Orsay is structured as a dance class where all exercises constitute an effective instrument to improve the natural relashionship between movement, music and rythm. Manuale sulla tecnica di Sbarra a Terra creata da Alex d’Orsay, scritto da lei stessa.Un lavoro a terra dedicato sì ai danzatori professionisti ed agli Insegnanti di Danza, ma anche a tutti coloro che da amatori ne studiano una tecnica, classica, moderna o contemporanea che sia.I principali obbiettivi che si pone questo metodo sono: una postura correttamente allineata, l’allungamento della muscolatura, il potenziamento dell’ en dehors, lo sviluppo della percezione fisica dei movimenti, della concentrazione e della memoria muscolare del movimento, il rinforzo della muscolatura addominale e di quella di tutto il tronco, il rinforzo dei legamenti e l’alleggerimento dei muscoli sovraccaricati.Inoltre nella Sbarra a Terra di Alex d’Orsay, concepita strutturalmente come una lezione di danza, tutti gli esercizi costituiscono un’efficace strumento di conoscenza della relazione tra musica, ritmo e movimento.

Leseprobe

Table of Contents

Introduction

Chapter One

Brief history of the Floor Barre

Alex d’Orsay method

Chapter Two

Purposes:

a) Postural and muscolar use

b) Teaching use

Who needs it

Who does not need it

Chapter Three

Basic Concepts:

a) The Energy Cross

b) The Conveyer Belt

c) Opposing Forces

d) Origin (source) of the Movements

e) The Pelvis, crucial point of the body

f) The backward tilt and the foreward tilt of the pelvis

g) The Chair Concept

Exercises reading guide:

a) Names and lexicon (classic definitions and personal definitions)

b) Acronyms, abbreviations and symbols

c) Sequential Order

Chapter Four

Exercises:

1) Exercise for the optimal placement - The Arms

2) Port des Bras (in prone position)

3) Retirè with two legs

4) Quadriceps contraction

5) The Z Position

6) Foot and ankle joints warm-up

7) Ecarté (=lying on the side)

8) Search of the body axis and exercise for the balance on the side position 47

9) Développés and enveloppés in Z position

10) Retiré with one leg

11) Camels

12) Demi-Plié

13) Adductors

14) Tendu in Z position

15) Tendu with demi-rond de jambe and battu

16) Slow progressive tendu to the 2nd (research of the personal turnout) Last Contact Spot (LCS) and First Lift Spot (FLS) 63

17) Fouetté

18) Demi-adage

19) Tablet – on knees

20) Coupé front and to the 2nd in Z position

21) Demi-rond in attitude en dehors, in Z position

22) Coupé to the 2nd and front, in Z position, on the side – “Pied dans la main” on the side

23) Balance at the end of the Z pos exercises

24) Progressive demi-rond de jambe, with stretched legs

25) Preparatory co-ordinations to abdominals exercise

26) Abdominals exercise

27) Work for arabesque - slow tendu with both legs

28) Cambré

29) Ants

30) Frappé

31) Chaînées

32) Petits battements suivi sur le cou-du-pied on the side

33) Preparation to batteries (beats)

34) Flic

35) Tablet - with stretched legs in 2nd position

36) Rond de jambe to the 2nd, with one leg

37) Développé

38) Développé with both legs

39) Enveloppé

40) Guided breathing

41) Rond des jambes with both legs

42) Grand rond with one leg

43) Grand rond with two legs

44) Switching from supine to prone position and reverse, through the split

45) Grands battements with one leg

46) Grands battements en cloche

47) Grands battements with both legs

Alex d’Orsay

Floor Barre

Youcanprint

Title | Floor Barre

Author | Alex D’Orsay

ISBN | 9788892666962

© All rights reserved by the Author

No part of this book may

be reproduced without the

prior permission of the Author.

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Alex d’Orsay’s Floor Barre Method

Alex d’Orsay has worked on and developed the floor-barre technique for over twenty years.

Since the beginning of the 1990s she taught her method at ”Teatro alla Scala Ballet School” in Milan, to pupils of all ages.

She was also Principal floor-barre teacher for “Dance Teachers Training Courses” as well as “Maître de Ballet Training Courses”.

She has substantially increased Kniasieff's floor barre technique by creating and adding a lot of exercises aimed at enhancing the physical perception of every muscle and the physical perception of every movement.

Through dedicated work, this method aimes at giving both a total mastery of the body and the ability to use the adequate muscle at the chosen time.

For each exercise a co-ordinated respiration has been studied to maintain the correct level of blood oxygenation during themovement and to allow great muscular control.

This is a complete method of floor-barre.

It is structurally conceived like a dance class, in which the musical accompaniment (new age, percussion, classical and contemporary music) is majorly important: all the exercises have been studied to become an effective tool for the knowledge of the relationship between music (or rhythm) and movement.

Alex d’Orsay has retired from “Teatro alla Scala Academy of Dancing” in 2011, after major foot surgery.

Introduction

The first time I met floor barre was around 1980. At that time I was a dancer, quite a poor one to my opinion, who while out of time for training, was still roaming among stages and seminaries, during jobless periods, looking for new techniques and great teachers to eventually find my way.

At that time most of the talented personalities of the dance world- coreographers, dancers and teachers - were attracted by France’s lavish cultural policy.

One morning, in Paris, I decided to warm-up in a different way and try this mysterious (for me, of course) “barre a terre”. I definitely was very far from understanding that my whole life was going to change the moment I was lying on the floor for the first time.

Love at first sight. I loved it immediately; without really knowing it I was suddenly actracted by it in the same way you fall in love with a stranger you casually run in , somebody who could easily be a rascal or a fascinating criminal you cannot resist , somebody you know you will unreasonably follow all your life long.

I decided I would had taken two classes a day (meaning two hours and half no stop, when I think about that now it looks to me almost crazy…) to go deep into that technique and to master it as well.

Noelle Winkelmann gave the classes: one of the very few teacher (the best at my opinion) personally accredited from Kniasieff. She strongly wanted pass the barre a terre tecnique to the new generations.

Tiny, always ruffled black hairs (and no wonder, always lying on the floor!), piercing black eyes, sparkling eyes she run you through with. Few words. That’s the way she was.

She used to explain a lot at the beginning, then when you were on the point of getting the concept or the key to go trought, she let you go and you had to find the end by your way, this was her method, if you weren’t smart and sensible enough to get it by yourself you would never be able neither to perform properly floor-barre neither to teach it.

Great teacher, great challenge: I immediately accepted it. And I started to research on floor-barre.

Physical effects on my own body had been prodigious, almost an unbelievable miracle. At the age of twenty-five the solidification of the bones is totally completed, therefore it generally becomes impossibile to modify either an incorrect muscular posture either a technical mistake.

Despite of that thanks to floor barre my technique improved so much I started imagining the results that young dance students could have achieved practicing it from the beginning of the study of dance.

During my thirty years of teaching I have added day by day a lot of personal touches to the basis of Boris Kniasieff floor barre untill I created a new complete method: creativity has always been and still is the most exciting part of my job.

The constant daily evolution of my floor barre had dissuaded me for a long time from recording it as I never considered the latest version as final.

But eventually the insistence of the teachers who attended my classes combined with my desire to leave a record of my work made me decide to write down the details of my technique. The beautiful summer of Mallorca contributed to my serene mental disposition.

I really hope this manual can interest either those people who had already practiced floor barre either those who are pushed to read it by a genuine curiosity .

I wonder whether it could become itself the starting point of a new technique in the same way Kniasieff’s work had been for me.

Pollença (Isle of Mallorca), March 2017

Alex d’Orsay