• La technique Graham et professeur Maggie Boogaart

    René Sirvin sur Martha Graham et sa compagnie : "Aucun créateur américain - à part Balanchine - n'a laissé un aussi vaste répertoire et aucune compagnie de modern dance américaine ne s'est produite sur autant de scènes prestigieuses, comme l'Opéra de Chicago, le New York City Center, le Metropolitan Opera, le Kennedy Center de Washington, Covent Garden... Et l'Opéra de Paris, où sur l'invitation de Rudolf Noureev en 1984, après de formidables ovations, Martha Graham est décorée sur scène de la Légion d'Honneur par Jack Lang, Ministre de la Culture."  (LIRE PLUS ICI)

    LA TECHNIQUE MARTHA GRAHAM est un entraînement de danse contemporaine complet et riche, parfait pour développer votre virtuosité corporelle, renforcer votre centre, améliorer votre technique, sculpter votre corps en 'danseur' et apprendre a s'exprimer.

    La technique GrahamElle est recommandée pour tous les danseurs professionnels et ceux qui veulent approfondir leur plaisir dans la danse. Elle constitue la base de la danse contemporaine (Cunningham, Limon, release … ) et le meilleur complément à la danse classique.

    Le danseur qui expérimente cette technique peut en ressentir très vite tous les bénéfices pour son propre style ou technique et pour la scène.


    (Maggie Boogaart in 'attitude spiral', photo: Juan Manuel Abellan) 

    Les fondements de cette technique sont les principes de 'contraction' et 'release' : contracter/activer le corps entier par les muscles de notre centre dans l'expiration, puis envoyer l'energie dans une ligne directe dans l'inspiration. (on peux penser a un tigre qui se prépare pour la chasse (= contraction) et après saute sur la biche (= release). 

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    (Maggie Boogaart in 'high contraction' + 'tilt', photo: Juan Manuel Abellan)

     
    Le centre devient très actif et avec l'utilisation de votre respiration, les dynamiques du 'spiral' qui créent des oppositions, les déplacements du poids, l'augmentation de conscience où on se trouve dans l'espace, la maîtrise des équilibres en déséquilibre, des chutes et l'utilisation du sol, il permet au danseur de trouver tonicité et énergie vitale et fait de votre corps l'instrument parfait pour vous libérer et vous exprimer comme danseur / performer sur scène.

    Voici deux liens qui explique la puissance de la technique Martha Graham pour les danseurs interprets et/ou comediens : sur sa choregraphie LAMENTATION et sur la puissance communicative de cette technique.   


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    (Maggie Boogaart in 'skip' + 'tilt in relevee', photo: Juan Manuel Abellan)


     L'entraînement est structuré en trois parties :
    Pendant l'entrainement au sol, on travaille notre force et flexibili
    té, ainsi que nos sens 'dramatiques' dans le corps et l'importance de notre 'focus' interieur et exterieur.  

    Puis, on s'enracine pendant les excercices debout en developpant le sens de l'espace.

    Après, pendant les excercices a travers l'espace, le danseur est challengé avec des enchaînements complexes et acrobatiques et une grand diversité de musiques et d'expressions. Une expérience totalement passionnante !

    La technique Graham

    Maggie Boogaart dans sa chorégraphie "THe Power of Life", Pleintheater Amsterdam (NL), 1999.

     

     

    Ecole Martha Graham NYC - USA

     

    Cliquer ici pour le site web de Martha Graham, créatrice de la technique Martha Graham, son école* et sa compagnie de danse à New York City (USA). 

    Les cours de technique Martha Graham de Maggie Boogaart sont passionement fidèles à la technique originale créée par Martha Graham. Maggie partage avec vous la connaissance qu'elle appris à l'école Martha Graham de New York, reçue des ex-étoiles de la Compagnie qui étaient entraînés par Martha Graham elle-même : Pearl Lang, Jacqulyn Buglisi, Kenneth Topping, Kazuko Hirabayashi, Peter Sparling, Christine Dakin ... 

    Elèves de Maggie Boogaart au PARIS MARAIS DANCE SCHOOL (dans les studios Centre de Danse du Marais, Paris) qui ont reçu des bourses pour le Summer Intensive de l'école Martha Graham NYC :

    2017 : Lauriane Nabet, Seung-Eun Shin
    2012 : 
    Maija Rutkovska, Rafael Molina
    2011 :
     
    Lisa Meyer,  Kevin Franc
    2010 : Adeline Fontaine



    ***

    Marnie Thomas, professor emerita at UC Berkeley, was the director of the Martha Graham School of Contemporary Dance from 2003 to 2006. She wrote the following:

    HISTORY
    It was between the two world wars, in an America on the verge of the Great Depression, that Graham began her quest. Born out of a rebellion against the decorative aspects of Euro-ballet, and fueled by her thirst for self-expression, Graham's individual language began to emerge. Her early movement was raw, strident, and filled with flexed feet, sudden falls, and percussive curling of the torso. All this was in sync with her revolutionary impulses and embodied in her all-female company of that period, familiarly called the "thunder thighs."

    Graham's vocabulary was influenced by each new decade of the 20th century. The spare, angular attack that defined her work in the 1920s and 1930s broadened into a more expansive and lyric stroke in the 1940s with the arrival of men in her life and her choreography. Psychological and sexual references added complexity to the training in the 1950s and 1960s. During the final years, when her own mobility became limited, the new generation of athletic dancers brought the vocabulary into daring technical extremes.


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    (eleves de Maggie Boogaart dans ces choregraphies 'PASSION' et 'BALAGUE') 


    WHY STUDY GRAHAM TECHNIQUE?

    Here is what some other former Graham dancers say:

    "The Graham Technique resonates with primal instinct. You are not only moving from your body's core, but also from the very core of who you are." -- Janet Eilber, artistic director of the Martha Graham Dance Company

    "When I took my first Graham class, it felt as though someone had taken the lid off a pot of boiling water. I felt a release that was both emotional and existential. The Graham Technique gave a voice to an inner world that I had no idea even existed." -- Kenneth Topping, faculty of the Martha Graham School

    "With laser-beam clarity, Graham isolated and caught the passion of the contraction (which is an amplification of an involuntary physical reaction to a sob or laugh), a movement that utilizes the center of the torso. It is charged with dramatic and poetic imagery that makes it urgent and moving, as well as beautiful." -- Pearl Lang, choreographer, faculty of the Martha Graham School

    ELEMENTS OF THE MARTHA GRAHAM TECHNIQUE - BY MARNIE THOMAS

    La technique Graham(Maggie Boogaart demonstrates a 'release' to her students in the presence of Peter Sparling, ex-principal dancer of the Martha Graham Dance company)

    * The contraction is essentially an exhale that curls the pelvis under and allows the chest to hollow inward. The body shapes itself as if embracing an enormous bubble, while allowing the audience to sense the completion of the circle. There are two different contraction dynamics. In the more lyric version, the head lowers following the rounded shape in a smooth execution of the exhale, rather like a suspended sigh. In the more extreme contraction, the head is thrown upward in percussive opposition to the rounded shape, as though in a guffaw of laughter or a scream of pain. The release is a straightening of the spine, returning to the elongated stance of an inhale of breath.

    * The spiral is a circling successive twist that wraps the torso into a strong suspension around the upright spine. Like a rope in which the fibers are entwined, the spiral adds strength in its winding motion.

    * The falls are a surrender to gravity. The classic Graham fall begins by sinking into the floor as if fainting, coiling onto the hip and catching the energy into a contracted and spiraled curl at the end to begin the rise to standing.

    * The off-balance tilts defy gravity. Starting from a wide second position, they create a windmill sensation by tipping dangerously to the side, ready to fall. The pitch arabesque is a throw of the torso dipping forward over the standing leg.

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    (Maggie Boogaart works on a deep contraction in a 'pleeding' with her students

    * Oppositional pull is created by stretching in different directions while the energy radiates outward from the spine.

    * Graham's use of parallel and turnout stems from her sense of the body opening and dosing in exploration of all possibilities. Drawing the energy into oneself and sending it outward is vital to the concept of breath that inspired her technique.




    ABOUT THAT DAILY RITUAL

    "It is in the retum to the classroom that every artist has the opportunity to be reborn."
    --Martha Graham www.marthagraham.org.

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