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Bar Altshuler
Eulalia Ayguade
Rasmus Ölme
Thierry Baë
Douglas Becker
Anne-Marie Blink
Benjamin Boar
Tobiah Booth-Remmers
Dominique Duszynski
Ernesto Edivaldo
Leif Firnhaber
Ori Flomin
Jozef Frucek
Cassiel Gaube
Renate Graziadei
Lance Gries
DCJ Group
Julyen Hamilton
Saju Hari
Robert Hayden
Milan Herich
David Hernandez
Roxane Huilmand
Peter Jasko
Hun - Mok Jung
Linda Kapetanea
Matej Kejzar
Martin Kilvady
Kurt Koegel
Anton Lachky
Tijen Lawton
Susanne Linke
Renan Martins de Oliveira
Cruz Isael Mata
Piergiorgio Milano
Marielle Morales
Thi-Mai Nguyen
Claire O'Neil
Janet Panetta
Chrysa Parkinson
Shi Pratt
Sten Rudstrom
Arthur Stäldi
Rakesh Sukesh
Milan Tomášik
Armand van den Hamer
Shosha van Kranendonk
Alexander Vantournhout
Sun Xiao Jun
David Zambrano


Douglas Becker

BIOGRAPHY
Douglas Becker is a freelance choreographer and educator working in many idioms. A former dancer with the Joffrey Ballet, The National Ballet of Canada and The Frankfurt Ballet, he has reconstructed numerous works by William Forsythe, and has a broad resume teaching Ballet, improvisation, composition, and repertory. His own choreography has been featured on the stages of Belgium’s Royal Flemish Theatre, Switzerland’s Grand Theatre de Genève, and the Choreographic Centers of Grenoble and Nancy in France, and he is guest faculty for P.A.R.T.S., New York University, The University of California Irvine, and The National Conservatories of Paris and Lyon. Becker's collaborative process of choreographic development improvises upon and utilizes dancers' individual talents and characteristics. Douglas Becker founded and curated the Hollins University Masters of Fine Arts international extended studies program introducing students to new ways of imagining their research and supporting their participation in dialogues that move across geographies as well as disciplines. Becker is currently a visiting master lecturer at The University of the Arts Philadelphia.



CLASS DESCRIPTION

My Ballet class has been developed for both classical and contemporary dancers. A place for research, thinking, making, and doing, my class is a place to dance, and a forum for rendering new knowledge in the moment. Collaborative in nature, research in this context is defined as “reading dance & reflecting” in a studio context. “Reading dance” implies that the dancer should be able to, or that the studio work could further enable the dancer to manifest their own material as it relates to and informs their process.

The class begins slowly, putting an accent on attention to musical accuracy and detail. Line, counter point and cross-verticality engage in a fluid relationship between the legs, shoulders, head, and arms within the classical vocabulary. Each exercise is designed to develop correct posture, placement, alignment, technical execution, and artistry. The dance combinations that are set, and arranged in the beginning of the week are then (de/re) constructed throughout the week. Demi-plie, supple and intelligently used, is emphasized. Articulation (a working through) of the feet is looked-for. Rotation/Turn out is a chance to understand more about Ballets relationship to hip flexor and adductor.

The use of breath, full body focus, length of spine, relaxed neck, and effortless epaulement are deemed important elements for building and maintaining a healthy, economically used efficient technique.
Self-esteem is enhanced.
Combinations are not complicated, but this can change depending on the
level/desire of the group.
Subtle changes in direction, speed, music and tempo are to be found.