For those interested in theater, dance, composition, contact, and improvisation as performance disciplines, this intensive workshop will integrate the deep body awareness of Body-Mind Centering® with the rich expressive framework of Laban Movement Analysis.
What is presence? How can the performer remain permeable, yet powerful? We will develop essential performance skills from an embodied perspective, address the nature of performance, and explore the hidden realities of the performer / spectator relationship. All levels welcome.
Faculty:
Brenton Cheng, MA
Vitali Kononov
Adam Kenyon Venker, MA
Carol Swann
2008-2009 MOC Program Calendar
Each day will be divided into two parts, with the first half - the
Fundamentals class - focusing on essential principles of Body-Mind Centering® and Laban Movement Analysis and
the second half - the Performance Lab - directly applying these skills in performance.
Participants will cultivate their skills in the realms of both dance and theater. Contact Improvisation will provide the medium for exploring the nature of relationships within performance.
Throughout the two weeks participants will receive specific feedback and
will have opportunities for conscious integration of the material into
their own lives and performance practices. Process circles will provide
group support for individuals to go deeper into their material.
Participation in the final showing during the second week is
optional. However, collaboratively crafting this evening performance will provide the chance for workshop participants to share what they have discovered.
Faculty bios (other faculty bios are located on our Faculty page)
Brenton Cheng, MA is a teacher, director, and performer of improvised and choreographed work, based in the San Francisco Bay Area. In addition to directing his own work, he has performed with internationally-acclaimed Contraband, Zaccho Dance Theater, Angus Balbernie, Kim Epifano, Jo Kreiter & Flyaway Productions, and many others, at such places as Jacobís Pillow, Bates Dance Festival, and the Festival díAvignon, France. He teaches on-going classes locally and gives workshops each year in various regions of France, as well as throughout Europe, Russia, and Taiwan. His training and inspirations include release technique, contemporary dance, contact improvisation, the martial arts, Laban Movement Analysis & Bartenieff Fundamentals, Body-Mind Centering®, bodywork, and acrobatics. Additionally, he is a graduate of the Moving On Center Participatory Arts Program.
Vitali Kononov is a dancer, teacher, bodyworker, and improvisational performance artist. Born in Russia, Vitali is now based in San Francisco Bay Area. His studies have included contact improvisation, dance, physical theater, clowning, as well as various somatic disciplines and improvisation modalities in Russia, Europe and the U.S. He is a former member and co-director of the Forest House Physical Theater (St. Petersburg). He has also worked as a site-specific artist and collaborated with choreographers, dancers, improvisation artists, musicians, visual artists, poets and actors. Vitali is a graduate of the Moving On Center Participatory Arts Program and is now a teacher here. His teaching experience includes classes in physical theater and contact improvisation in Russia, Ukraine, Moldavia, Germany, and the U.S. He teaches regularly in the San Francisco Bay Area, and annually at the American Dance Festival.
Adam Kenyon Venker, MA is a Bay Area actor, dancer, improvisor and clown. He is a graduate of the Clown Conservatory at the Circus Center of San Francisco and a member of Pacific Playback Theatre, an improvisational ensemble. Adam holds a Master's Degree in Philosophy and Religion from the California Institute of Integral Studies and is a certified Laban/Bartenieff Movement Analyst. Over the past two years, Adam has created, produced and performed three solo projects including "Dr.-In-A-Box" (solo clown entrée), "The Fever" (a one character play by Wallace Shawn) and "The Yellow Tunic" (an original piece of solo theater depicting the final days of famed Russian Futurist Vladimir Mayakovsky). Adam's performance training stretches from Europe to Indonesia and his dramaturgical influences center upon physical methods for actor training that deepen the performer's scenic presence. Adam is a faculty instructor at the Clown Conservatory and adjunct faculty at the Actor's Center of San Francisco.
Carol Swann is a teacher, performer, facilitator, private practitioner, and visionary. She has been teaching and performing dance and vocal related work for over thirty years in the U.S. and in Europe. She is co-founder, teacher, and Executive Director of Moving On Center, School of Participatory Arts and Somatic Research in California. She is an ex-member of Mandala International Folkdance Ensemble, Libana and Vocal Repercussions. She is a co-founding member/director and teacher of the workshops: Acappella Motion, Island Movement, New Forms Dance and Outfall. Other teaching venues have included Esalen Institute, Omega Institute, Stanford University, Tufts University, Theater School of Modern Dance (Holland), European Dance Development Center or EDDC (Holland), Bevegungs-Art (Germany), Tanzfabrik (Germany), Chisenhale (England), Alexander Technique Schools in: Italy, Switzerland, Germany and France and Movement Research where she was the director from 1983-1986. She has performed solo and in collaboration with performers such as Simone Forti, Andrew Harwood, Daniel Lepkoff, Kirstie Simpson, Nancy Stark Smith, Jess Curtis, Anna Halprin, Lisa Schmidt, Paul Langland and Angus Balbernie.
She is a certified teacher of the Alexander Technique (AMSAT), has a certificate of study from the Process Work Institute of Portland, is a graduate of the Professional Hakomi Therapy Institute, is certified in massage and specializes in conflict facilitation. She maintains a private practice in somatic therapy and teaches Voice, Alexander Technique, and Contact Improvisation. Additionally, she was a director/collaborator with a work-group of dance/artists committed to improvisational performance and investigation. Her studies and work have been greatly influenced by Steve Paxton, Lisa Nelson, Yvonne Rainer, Simone Forti, Anna Halprin, Andre Bernard, Ruth Zapora, Bonnie Bainbridge Cohen, Meredith Monk, Trisha Brown, Daniel Lepkoff, Release Technique, Roy Hart Theater, Process Work (Arnie Mindell) Aikido and numerous other artists and art forms, nature and politics.
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Photos on this page by Susan Bauer
