central focus of the methodology “elements of desire”: the
original cause of movement - its desire.
In this workshop the students explore the concept of desire as
such and its basic components:
what does the body desire and how does this desire allow for
the body to become inhuman? What are the basic elements of
metamorphosis of human body into inhuman? How does dance
capture this transformation into/as an art object?
We begin with the natural body which is already programmed
and enter a dialogue of its double: its current existence in
the machine epoch, where technologies create forms: the
machine creates new possibilities of a human body and the
human preserves and records the alternatives of body states
created by the machine.
Can dance become the existence of the body? Body always has
a double: could I call it human? – and the bifurcation: to
follow the body given (hedonism) – without knowing our
desires we pursue their attainment or its opposite
(stoicism), which opposes the program given.
If we accept these two beginnings: two options of
interaction of these bodies to the outside world, we
originate playing field of absurd, mechanism.
“Elements of desire” as a methodology is based on that exact
mechanism: dance as a search of the gratification of desire
of the body, which is unknown to itself.
Method of Valentin Tszin is based on 4 components:
1. Work with the physical body.
Warm-up exercises (joints, muscles, skeleton); exercises to
strengthen the body centre, feeling of the periphery and
their interactions; strengthening and relaxation, balance.
Techniques: combination of taekwondo, butoh and rhythmics.
2. Work with the conscious body.
Exercises of refusal of actions. Research of body polyphony:
numerous variants of behaviour in the same situation.
Sensation of individual patterns. Biomechanics. Metronome.
Based on drama and acting theatre techniques and Meyerhold’s
3. Work with the bodies in a group.
Improvisation on a given topic. Research of boundaries of
oneself and the other. Construction and deconstruction of
hierarchy of bodies in space. Modelling simple and complex
schemes “presence – perception”.
We will use the theory of contemporary philosophers and
4. Work with composition and dramaturgy.
Theory about existing strategies of creation of a public
action (performance). Depending on the course, we will
develop solo and/or group actions.
Basic keys: Stanislavsky, Meyerhold, Artaud, Hijikata, Brech