1. T E E T K A S K
With specific tasks students will be
guided to get in touch with their
own emotional landscapes as a
core to the movement. In the
process each students’s unique
physicality and individual movement
qualities are explored. Process is
lead in such a way that all
individually gained experiences will
lead to the functional structure for
the performance.
All these matters will be worked
through during intensive studio-
based research. A strong and
trusting relationship between
lecturer and student is crucial in
the process of finding authentic
movements. In particular, the role
of teaching and research is to
safeguard a deeply personal
process.
One of the main aims is to find ways
to get as close as possible to an
authentic movement in a theatre
framework. Most performers find it
very hard to look inside themselves
and discover emotional reality.
The intention of study and research
is to find ways of coming as close
as possible to a performer’s
personal state. In order to fulfill this
aim previously conducted lectures
and research has very clearly
shown that ‘words’ have a
substantial part to play in this
process. Texts from known writers
and poets as well students own
writings will be used in the learning
process.
Lecture investigates the issues of the individual performer as a source for
building up the structure of a performance.
The specific area of
investigation includes:
• the authenticity of the movement
• the ability of the performer to
‘read’ their own emotional state
and use it instantly in the
performance
• the use of voice as a tool for
discovering and strengthening self-
confidence as part of true
movement
• the group’s interaction with each
performer’s individual state being
within the common pulse
• the use of sound as a partner
the use of sound as a partner THE AUTHENTICITY OF THE MOVEMENT
the use of sound as a
partner
Dancer As a Method
From Body Awareness to Improvisation
the group’s interaction

2. This is a dancer-centered
teaching process in which the
dancer is taken as an individual,
where one of the main
approaches is based on the
dominant function of the
personal observations of
authentic movement that is
guided more by emotion than
intuition or by sensation rather
than thinking with the intention
to arrive at a result that will take
shape as a rhythm of individual
worlds.
The aim is not to give dancers
the task of interpreting roles as
in a drama theatre rehearsal,
but allow the involvement of
their momentary state through
improvisation and ‘sense’ and
develop a movement language
based on the interaction with
• Music
• Theme
• Personal experience
• Individual body shape
• Individual body plasticity
• Momentary emotions
Using the above mentioned
approach will lead to a structure
in a theatre framework where
things are allowed to happen,
but where control over the
situation remains.
In order to effectively arrive at
the original movement, methods
from Gestalt psychology will be
used during the studying
process which help detect
individual feelings at any given
moment. This means that
everything a person disowns,
can be recovered and the
means of this recovery is to
understand, play and become
these disowned parts.
“The main thing that I got from the course was realizing
the importance of what dance is” student from Oslo National Academy of the Arts
TEACHING METHODS
“I got more conscious about how
my body worked. The tasks that we
got was a lot of mentally work. You
had to think and make a story and
then it translated through your body.
I'm also more conscious that you
don't need to make a choreography
with difficult and hard steps to make
a good dance choreography.
Tyra Medero
Student from Oslo National
Academy of the Arts