By Ursula Schorn
Anna Halprin is a world-famous theatre artist and early pioneer within the expressive arts therapeutic move. This publication explores her own progress as a dancer and choreographer and the advance of her healing and pedagogical strategy.
The authors, who each one educated with Halprin, introduce her inventive paintings and the 'Life/Art Process®' she built, an technique that takes existence stories as a resource for creative expression. additionally they learn the broader impression of Halprin's paintings at the fields of paintings, schooling, treatment and political motion and talk about how she crossed the conventionally outlined barriers among them.
Exploring Halprin's trust that dance could be a robust strength for transformation, therapeutic, schooling, and making our lives complete, this e-book is a tribute to an excellent physique of inventive and healing paintings and may be of curiosity to expressive arts therapists, dance flow psychotherapists, dancers, functionality and group artists, and an individual with an curiosity in modern dance.
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Additional resources for Anna Halprin: Dance - Process - Form
For women with HIV she set up a group of their own, ‘Women with Wings’. Figure 10 The ritual Circle the Mountain (1985) is about inner and outer peace. It is the outcome of an intense process of group creativity. Figure 11 Confronting one’s own fear of destruction and death is part of the fivestep process that the ritual Circle the Mountain (1985) goes through. Figure 12 Participants paint their personal ‘inner landscapes’ in a preparatory workshop for Circle the Mountain in 1985. Figure 13 Planetary Dance was performed as a peace ritual in 1987, between sunrise and sunset – and on the first occasion at 63 locations simultaneously.
The location of the production is a park in San Rafael, a suburb of San Francisco. Fifty rocking chairs are set out in rows. Each one is different, for they are all privately owned. Citizens have loaned them for the performance following a public request from Anna Halprin. Over the microphone she guides the way, like a sort of moderator, through the late afternoon. ’ she asks, as a flock of birds flies across the lake with rapid wingbeats. ’ Soon arms are extended in all directions, eyes following them.
How is something that is felt expressed? How do the three correspond with each other? Which levels do not correspond and resonate, but are apparently shut off or blocked? How and where do contradictory, incongruent expressions appear? These are questions that prepare us for embarking on the creative process of perception and expression. They aim to heighten awareness of perception by differentiating, and to extend the range of the body’s capacity for expression, in order to achieve increasingly congruent expression.