For years, K-12 teachers have been relying on the invaluable tools and blueprints in "Building Dances" and "Building More Dances" to help their students put movements together. Now, with "Building Dances, Second Edition," the original text has been significantly expanded and updated to give you even more tools to guide your students as they experiment with the creative process--even if you've never taught or choreographed dance. Like the earlier books, this guide puts you in the role of facilitator rather than demonstrator. Using the dance construction models provided, you'll explain the material, teach the necessary skills, direct the action, and assess the outcomes . . . letting your students focus on the creative work. "Building Dances, Second Edition," follows the same winning approach that made the first edition so popular. It takes you step by step through the choreographic process, with sample lesson plans, warm-up ideas, and seven easy steps to follow when building a dance, plus even more great material: -A convenient, expanded, ready-to-use deck of Deal-A-Dance cards -Updated dance-building activities, called Dance Construction Models, reformatted and expanded to include loads of new information and six new activities-An expanded glossary explaining important dance terms in everyday language-New forms and checklists to make the assessment process easier for you and your students This edition contains a total of 15 Dance Construction Models, including 6 never before published. Each construction model provides concrete ideas to help students shape dance movements, perhaps to create a scene, communicate a story, foster an idea, or interpret a piece of music. And now the Dance Construction Models have been redesigned to make them even easier to use! Each one includes a description of the activity or procedure, an example, cross-references to the national standards for dance and for physical education, easy adaptations for three different grade levels (grades K-4, 5-8, and 9-12), and criteria for student assessments. You'll find four types of sample rubrics for each one, with specific criteria for movement skills, cognitive skills, choreographic and creative process, and social and aesthetic skills. The unique Deal-a-Dance cards--one of the most popular Dance Construction Models--have also been expanded and reformatted to get students even more involved in creating and assessing their own work. The cards provide more than 230 movement ideas to get the creative juices flowing. Each card presents a definition of a selected movement term, a description of that movement, multiple suggestions for students to try, challenges that encourage them to put movements together to form phrases and dances, and a self-evaluation question. The cards are excellent hands-on tools that allow students to work at their own pace, either individually or in small groups. You can use them for a single lesson, a unit, or an entire semester of work. This edition also contains new ideas to help you connect dance to other disciplines and increase students' engagement, plus new criteria for writing rubrics and suggestions on how to expand simple dances into whole productions for PTA and other student performance settings. Whether you're a physical education teacher, drama coach, music teacher, dance teacher, classroom teacher, or recreation specialist, this book will help you stimulate your students' imaginations. Use it alone or together with the companion resource, "Building More Dances," to help your students experience the joy of building their own dances.
我最欣赏《Building Dances》中对“时间感”处理的章节。它完全颠覆了我过去对舞蹈叙事线索的线性理解。作者没有满足于简单的“快与慢”的对比,而是深入探讨了“主观时间”与“客观时间”在舞台上的交织与冲突。书中详细描述了如何通过重复、拉伸、压缩等手法,来操纵观众对一秒钟的感知长度。这不仅仅是技巧,更是一种心理学层面的介入。读完这部分,我立刻回去重新观看了一些经典片段,发现以往忽略的那些微妙的时间延宕或加速,现在都清晰可见,犹如获得了某种“显微镜”去观察动作的肌理。此外,作者在讨论如何将非舞蹈元素(如口述、环境噪音)整合进动作序列时,表现出了极高的成熟度。它鼓励我们将舞蹈视为一个开放的系统,而非一个封闭的技艺展示台。整本书的论述逻辑严密,引用充分,展现了作者深厚的跨文化视野和长期的舞台实践经验,让人读后有种豁然开朗之感。
评分我最近刚接触到一些当代舞的理论书籍,而这本《Building Dances》以一种近乎诗意却又异常严谨的方式,将舞蹈创作的“无形之物”具象化了。它不像有些理论著作那样晦涩难懂,而是采用了大量的案例分析和个人反思,读起来非常流畅自然,仿佛是和一位经验丰富的导师在进行私密的交流。书中对于“环境因素对动作的影响”的探讨,给我带来了极大的启发。比如,作者如何将排练室的声学特性、灯光的物理性质,乃至观众的预期心理,都纳入到动作设计的考量之中。这种跨学科的视角,极大地拓宽了我对“什么是舞蹈作品”的理解边界。更妙的是,作者似乎很擅长使用类比的手法,将复杂的结构拆解为易于理解的片段,比如用建筑学的“负空间”概念来解释舞台上的虚位,这种比喻既形象又富有洞察力。对于非专业出身,但对艺术创作抱有浓厚兴趣的读者而言,这本书提供了一个绝佳的入口,它既有学术的骨架,又有艺术的血肉,平衡感掌握得恰到好处。
评分这本《Building Dances》读起来,我仿佛置身于一个充满实验精神与细腻观察力的编舞工作室。作者对于“动作的生成”这一过程的阐述,远超出了传统的技术指导范畴。它更像是一场关于身体与空间之间复杂对话的深入挖掘。我特别欣赏其中对“意图性”(Intention)的强调,书中并没有简单地罗列一些舞蹈动作,而是将每一个微小的身体姿态都置于一个更宏大的叙事结构中进行探讨。例如,书中用了整整一个章节来剖析“停顿”的力量,这不是简单的“不动作”,而是一种充满张力的“存在”。作者通过引用哲学家的观点,结合具体的排练案例,展示了如何从一个模糊的灵感到最终呈现的舞台作品,每一步都充满了理性的思辨与感性的激发。阅读过程中,我不断地停下来,在脑海中重构那些被描述的场景,甚至尝试用自己的身体去感受那种“被构建”的过程。它对于那些已经有一定编舞经验的人来说,无疑是一本开拓思路的宝典,因为它迫使你重新审视那些你习以为常的创作习惯。它不是一本让你学会跳舞的书,而是一本教你如何“思考舞蹈”的书,其深度和广度都令人印象深刻。
评分这本书给我的感觉,与其说是一本关于编舞的指南,不如说是一本关于“如何有意识地进行创造性行为”的哲学文本。它的结构非常巧妙,并非简单地从A到Z的线性铺陈,而是像一棵不断分叉生长的树,每个章节既独立又相互关联,共同支撑起一个庞大的理论体系。我特别喜欢其中关于“身体作为媒介的局限与无限”的探讨。作者没有过度美化身体的能力,而是诚恳地探讨了肉体的疲惫、记忆的偏差如何反过来塑造最终的作品形态。这种务实和批判性的态度,让整本书的论述充满了可信度。对于那些寻求突破“风格化”束缚的舞者和编舞家来说,这本书提供了必要的工具去解构固有的模式。它鼓励你质疑“为什么是这样”,而不是满足于“它看起来不错”。阅读过程需要一些专注力,因为它探讨的问题深度较大,但回报是巨大的——它能真正地重塑你对艺术创作的认知框架。
评分说实话,我刚拿到这本书时,担心它会是那种充满陈词滥调的“创作秘籍”。然而,阅读几页之后,我就发现我的担忧是多余的。这本书的独特之处在于它对“失败”和“意外”的珍视。作者大胆地将排练过程中那些“不成功”的尝试、那些偏离原定计划的瞬间,作为核心的分析材料进行深入解剖。这种坦诚的态度,极大地减轻了读者在创作初期可能产生的挫败感。书中多次强调,一个好的编舞过程,是不断地自我修正和意外发现的集合体,而不是一条笔直的、预设好的路径。特别是关于如何记录和整理那些转瞬即逝的“灵光一现”的技巧分享,非常实用。它不是要求你强行去“找到”灵感,而是教会你如何搭建一个捕捉和培育灵感的“生态系统”。这本书的语言风格非常富有节奏感,读起来有一种内在的律动,与书的主题相得益彰。对于正在摸索自己个人风格的年轻创作者,这本书的引导作用是无可替代的。
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