One of the important things about dance is the ability to feel and react to your own body in a dynamic. I find that the ability to feel and react to what my body is doing in the moment is incredibly valuable in the context of a dance. This dynamic, as a dance, needs to allow the performance to feel and react to its performer’s own body, without being distracted from the moment by external distractions or internal constraints. When the dancers interact and move with one another, they interact in a very natural way about where their body parts are on the dance floor. In an event like a Cirque du Soleil performance, this can be extremely important to the way the performance feels. The idea of “flow” in dance or performance is just one of many ideas that is often presented by experts and performance artists as a way to promote movement of the body. However, I don’t subscribe that flow is the key to the dance or that performance artist has any insight on what makes an experience good or bad, or how to create this flow.
It’s not the act or the performer.
As I already said, it’s not the act or the performer, that’s important. In a performance, you need the performer to be able to focus on what he or she is doing and feel it in the moment. While performing, if you try to focus on someone else or a specific part of your body or body part, you’ll likely get caught up thinking. Asking the audience “whoa what’s that?” or “does that look cool,” or “can you hear me?” or any other performance question will not do this well. As someone who has been training dancers for years, it’s clear to me from experience that these performance questions and concerns are completely avoidable and can even create issues with the dance. The key element is for everyone, in any movement in the company, not to worry about “who is paying attention to whom” or “should I be thinking about my fellow performers and not worry about my own body?”: the only person to focus on is yourself. It’s important that everybody be able to focus on themselves, because even if your eyes are looking outside the stage or your ears are listening to people, you must be able to fully focus on your own body and know when you are about to have a “problem.” If you are doing other moves, or even if you are concentrating on the next number, you will be able to focus on your own body and not think about anyone
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