German Deutsche Demokratische Republik: European, white man 2. TV set, television set Fernsicht: Frankfort Frankfurt am Main: Frankfort upon the Main Frankreich: French, French language Fratze: Hanse, Hanseatic League Hanswurst: Hebrew, Hebrew language Hecht: Indian, American Indian Indien: Japanese, Japanese language Jargon: Carpathians, Carpathian mountains Karpfen: Annunciation, Lady Day Marke: Mohammedan, Moslem, Muslim, Mussulman Mohn: Portuguese, Portuguese language Posament: Russian, Russian language Rute: Saint Gotthard pass Sankt Niklas: Spanish, Spanish language Spargel: Czech, Czech language Tschetschenien: Ukraine, the Ukraine 2.
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I nemirne vjeverice Alvinnn!!! When a vampire tick gets on Harold's butt, Bunnicula has to get it off of his butt before bad stuff goes down After a magical artifact combines Chester, Harold, and Bunnicula into one uberpet, they must find a way to unmesh themselves without Mina finding out The gang bring home a tiny creature named Pet Pet, but Richard wants proof that they are responsible owners.
When Pet Pet runs away, Unikitty pretends to be him until he is found! Mina wants to see a real ghost so her pets hire one to give her a little bit of a scare A confrontation seems pointless. I flee into the future and ask myself: Where does time begin? Where does space end? As silence comes is a choreographic investigation of the connection between humans and nature. A story of foreign beings that bring joy and hope as well as pain and sorrow. For this presentation Jonas Rutgeerts explores the potential of the usage of syncopation in choreography.
Throughout the history of dance both theorists and practitioners have defined rhythm either as the metrical repetition of discrete units that follow a pre-established pattern, or as an organic, durational and free-flowing expression of the body. Syncopation, however seems to resist this ontological dichotomy in favor of a polymetric system in which rhythm is the result of different patterns that are played out at the same time.
Drawing on the work of amongst others Gertrude Stein, Paul Gilroy, Steve Goodman, Jonathan Burrows, Matteo Fargion etcetera, Rutgeerts traces the history of rhythm in choreography and explores how syncopation enables a rethinking of the relation between dance, choreography and temporality.
In the dance piece In der Stube mit dem offenen Fenster , there are as many people as there are rooms. Their gaze out of the window projects a frame onto the world. There is place for family meals with sharpened knives in the frame, or for a long lost love that has settled into a heart chamber and pumped blood from there.
In der Stube mit dem offenen Fenster: These four numbers are a common theme throughout the performance; they allow space for interpretation. By hearing the rhythmic numbers, the dancers and musicians have a multitude of associations and associated sensitivities are awakened. An effervescent dome of water rises above the surface of the earth. Dozens of air bubbles eject from the depths with incredible speed.
They explode through the dome of water and pull it up into the heights as a fountain. What follows is a view into the vertical and a state that allows for a new perspective. It expands and seeks balance. Janne Gregor By and with: Kim Scharnitzky Dramaturgical Advice: The human body is permanently subject to gravity. This results in exhaustion, expressed in body language that lacks tension and in sluggish movement. Why is the body also given the responsibility of representing identity? The body is in a space without clear borders, in a space in between.
This is where the people exist who are neither guilty of great sins nor have performed especially good deeds. The Introductory session of the SoDA lecture series in the winter semester will start with a radical critical question: If what we call 'contemporary art' is a historical category, then it has limited historical validity. Are we witnessing the exhaustion of this validity? The philosophers Ludger Schwarte and Boyan Manchev share the intuition of radical transformation if not gradual exhaustion of what was conceived and identified as "contemporary art" in the last half century.
Who is dreaming me? Is there a opportunity to dream together? What if there would be a small split in the common space-time-continuum and we could get into it? Irina Demina presents her graduation piece for her Master of Arts in Choreography. Tues 13 September, The graduate Bachelor students from the HZT Berlin have spent the last three years exploring the possibilities and limitations of contemporary dance and performance practices. In this workshop led by Johanna Ackva and Camille Chapon, currently students in the BA course "Dance, Context, Choreography" , different movement material will be introduced, tested and shamelessly modified.
Julia Turbahn, Adam Shpira: Computer somatics Artistic collaboration: My talk will explore how Post-Civil Rights era black artists have used performances of sex to reimagine racial critique. Looking particularly at the film Sweet Sweetback's Baadasssss Song and essays by Robert Reid-Pharr, this lecture asks how sexual performance threatens, and potentially, undoes abbinden the racially rassisch essentialist frameworks that often guide cultural analysis.
What can it look like? How can artistic practices be understood as knowledge, and how can gaining knowledge be shown and infused into a discourse? With what means can learning processes and realizations from artistic practice be made visible? On three evenings the students present their research processes in performative formats and give insight into their upcoming final project in the following semester.
The presentations range from performances, discussions, installations and more. P roduction desired value added studio 9. Mike Vargas began studying music in He started specializing in music for dance in He works as a freelance composer across the USA and internationally performing, teaching, recording, and improvising. For the past 16 years, he has been working around the world with Nancy Stark Smith. He teaches on the faculty of the Smith College dance department. He has released 9 CDs of his music. Her work is featured in several books and films, and she has been developing the Underscore, a long-form dance improvisation structure, since She lives in western Massachusetts.
We are surrounded by invisible and inexplicable powers — by material that is constantly moving even though it appears static. Poeira Surda is ambivalence; it is an attempt at belonging to the remnants in a space. It is the willingness to thwart others. It is a renunciation of the self and a rebirth in the moment of desistance and perseverance. STAUB is physical traces, immanence of memories, wishes. STAUB hovers; it constantly changes; reshapes, re-groups and re-invents itself anew and morphs; it feigns pauses, demands, disappears and stops. The box office opens at 6: From experience, tickets are usually sold out quickly at the box office.
Therefore we kindly ask you to arrive at the box office at least 30 minutes before the performance. From experience tickets are usually sold out quickly at the box office. Since June last year, students from the MA SODA study programme of HZT Berlin and students from the Academy of Media Arts Cologne as well as colleagues from the professional dance world have been artistically examining and illuminating the interdependence between choreography, performance and documentation.
On the weekend of the premiere there will also be a series of public dialogues with the artists involved. Sandra Umathum professor for theatre studies, dramaturge in conversation with project participants. A choreographed solo performance between dance and music. Who is Utku Yurttas, today, here on this stage? He moves through a system, a physical, spatial and musical score. In this way he simultaneously creates music and movement, movement and music. Utku Yurttas Scenery, light, installation: A stage designer, a refugee, a graphic designer, two housewives, a kindergarten teacher, an artist, two musicians, a performer, three female dancers, a singer, four students anthropology, choreography, art , a yoga teacher, a carpenter.
Matthias Erian Stage, light design: Cheng Ting Chen Music: Alessandra Vasilieva, Viviana Defazio Performers: Why is the movement in motion? These are questions about the transmission of language, the politics of listening and about the role of representation in dance evolving on the basis of the linguistic perspective that constitutes its foundations.
Through choreography, we come to rely on a broader definition of the concept of language: From this insight we nourish respect for our fellow human beings and we become not only better at expressing ourselves but also at listening. Dance becomes a political action. Seeing the world with the eye of an artist entails finding a methodology for thought and meeting the politically complex challenges of modern society and cultural contexts.
The art of choreography as action and thinking, allows us to be provocative, to question, to reflect or to test social ideologies, if we just dare to go beyond the ordinary. Through dance, text and imagery, I invite all of you into a loving moment of action. I will chew at the edge of my worries and think up new shortcuts through the wilderness, amidst a headwind, discussing ideas of choreography.
And I will dance. KF - Institute for Artistic Research.
Moderated by Julian Klein Efva Lilja is an artist, activist and researcher; she works with choreography, visual art, films and writing. From to she was the Artistic Director of the E. Company, producing work in more than 35 countries around the world. For this she has been honoured and has received a number of prizes and awards. Since the late s, she has worked with artistic research and been an active force nationally and internationally, striving to improve the conditions under which artists can undertake research in their artistic practice.
From , she has been the Director of Dansehallerne in Copenhagen. The consequences are several: In that case, what exactly is the tension produced by an artist becoming more professional? How can one benefit from the tension of this contradiction? How can an artwork dismantle the positions of privilege installed and perpetuated by professionalism? How does one reformulate the political body as the main tool for social transformation? In this lecture, Burkhard Beins will present the modular system of signs for the organisation and control of group interaction that he has been developing for the last 10 years.
It is based on a limited number of signs with which he can — precisely because of their very specific meaning and function — compose complex graphic systems of relations. Burkhard Beins was born in Lower Saxony in and has been living in Berlin since Considering consumer technologies in relation to different understandings of the concept of the fetish Marxist, Freudian and post-colonial , I will speak about some of my digital performance work in relation to consumer technology and fetishism, performance and online sexualization, porn and hypermediacy.
After the presentation the audience are invited to participate in a hands-on techno-fetish workshop or party , where they are encouraged to explore their favourite personal digital device. It's never whatever — this is an invitation to bring attention to the in-betweens, the seemingly unnoticeable and the too-obvious-to-see.
An invitation to share those moments of twisted pleasure together. No ticket reservations possible. Tickets are available at the box office 30 minutes before each performance starts. More information on the programme: I 6pm I lecture series: The World must be Romanticised I Studio 9. Are we still acting today in accordance with the Romantic desire for transformation of the world?
What is its legacy and metamorphosis in the present day? The lecture series will convey leading political philosophers and art theorists in the attempt to formulate possible perspectives for answering these questions. The role of affects in agonistic politics. Lecture von Wolfgang Zamastil mit Live Musik. Als Komponist sammelte er zahlreiche Erfahrungen, u. Lachenmann und Walter Zimmermann, komponierte u. Seit musikalischer Partner des Choreographen Richard Siegal und hat u. Lebt und arbeitet in Berlin. Her commissions in documentary photography brought her into close proximity with some of the most controversial educational experiments in American History, including the Carlisle Indian Industrial School in Carlisle, Pennsylvania.
Can this photograph be viewed as a representation of Indigenous Americans? Can it be understood as a photo of students? What is my agency as a reader? While opening up complexities that lie between the image and the body in im motion, or, as I will refer to it, the dancing-body-resisting-in-stillness, in this presentation I will also discuss complexities related to the body-as-archivist and that body as agent in interaction with space-as-image-archive. My hope is that these complexities will offer us new ways of thinking the dancing body.
School for New Dance Development Amsterdam presents: SNDO 4 Graduation works Nadja van der Weide; Lichtdesign und Technik: Koen van Oosterhout; Technische Assistenz: An experiment with a deep investment in blinging. Be untraceable, become a pure movement.
UdK Open Days - HZT Workshops and Studioshowings on 21.7.2018
This is the thing you want. This is the mechanimalism. This is my mother. Metallic gold is inert to all body chemistry. It has no taste, it provides no nutrition, and it leaves the body unaltered.
Thesaurus of English Words and Phrases
Arjan Cabellut and Raoul Zwart Music: Pepa Canel Samira Elagoz: Everything you see tonight is true. Is the whole truth and nothing but the truth. Written, directed and starring Samira Elagoz. This piece is accompanied by a book; you can find it at the bar during the intermission. In this version, Maria Metsalu proposes an investigation of modes of exhibiting and producing by taking a faux art gallery as a post-human character as the starting point.
Within this setting, she continues to develop topics around her experience as a cam girl, relations between IRL and URL, her virtual obsession, hyperconsciousness and the influence social media and her life online has had on her persona, including the immense loneliness which this self-exposure has led to. How do we define the parameters of space? What is the nature of a space? What does it mean to have a moving frame? Like a territory being defined and redefined by a flock of animals, creating a zone with distinctive features, which still overlaps with other zones. Did you already enter another zone without realizing it?
How does the sensation catch up with you? Did you clearly feel your body passing from one texture to another? Like traveling in a foreign country, I want to reinvent myself in these realities, in these fictions. So where do you place dance? A dance on stage? A dance in a bedroom? A dance in a staged bedroom? The bed, the room as the dancing element? Where do you expect the dance to take place? Where do you place the dance? These are all questions that arose during Ida Katinka's two-month research trip to Japan, which mainly took place in Kobe, Kyoto and Tokyo.
This was followed up by a two-month stay in Copenhagen, Denmark where Ida Katinka worked with clay and ceramic in the studio of her mother Helene Fridan Pedersen. One of the elements in the work is the question 'How do we define the parameters of space? She also worked with the awareness that the history of clay starts by building up from the ground, establishing the foot.
The ceramic sculptures are combined with a study of rope bondage shows that she undertook in Tokyo; she transformed this knowledge into her own handling of rope, the body and sculpture. The songs are originals, with lyrics written by Lester Arias vocals and music composed in collaboration with Niklas Blomberg electronics , who is also the music producer of the album.
As the wolf jumps out of its cave, it runs into the desert and becomes a laughing woman. Here the temporality of the body does not equal the temporality of an object. Both can only share the. A poetics of performance begins to privilege the openness and indeterminacies of enactment versus the closures of explanation.
Dance tends to enact something rather than explain, whilst choreography is a means of finding ways to transmit the forms of such enactments. Can the artifacts resulting from such practices be understood as documents, and which assertions do they allow to be made about 'their object? If it is valid that, aside from its primary occurrence, art based on movement and temporality can only be made accessible through medial transformations, then the possibility of reading such artifacts of transformation as traces of past occurrences presupposes reflecting their technical and operative as well as aesthetic-discursive conditions.
Transformations and Masquerade 2: Digital Imaging and dance notation. She lives and works in Berlin. It translates choreographic aspects of the work of William Forsythe in a sci-fi narrative. Uferstudios, Seminarraum 1 1 st floor , 7. What happens inside a theatre when nothing is happening? What do theatre buildings do? In place of a show is a lecture-work exploring different theatre buildings around the world. Turning attention away from the human element the work of performers, artists, audiences, architects, etc , the lecture focuses on the buildings themselves: When the human element no longer dominates the space, non-human elements take centre stage: Perhaps the art of theatrical representation can be best understood by attending to seemingly insignificant events: Five MA Choreography students will present their third semester works on two double evenings.
Vertigo Disturbance of a sense of balance.
Where do the limits of these bodies lie? Where do they begin, where do they end? What qualities of movement do these bodies have? It is a continual transformation of bodies. Limited seating, please get your ticket early. Considering that both choreography and documentation create artefacts with all of their authorial and medial specificity, the point of interest would be: An approach reaching beyond the commonplace of eternal declivity between these artefacts?
Compared to practices in the Visual Arts, the interlace between curatorial valorisation and performative positions seems less developed in the field of choreography. The symposium will include lectures, presentations, panel talks and open discussions. It is open to the public. Morrill San Francisco ; moderator: Franz Anton Cramer Berlin. Uferstudios Berlin, studio BBC — in records recollections , those are musical initials.
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From his childhood onwards, Mr. Cage had a great aversion to the radio. It almost induced a fear in him due to the constantly repeating music. But since it was hardly possible to ban the device forever from his life, Mr. Cage banned all radio music into a composition and gave it the name Radio Music. From then on, he could always be happy about the fact that his music could be heard on the radio when one was on somewhere. Reserving tickets for the performances in Studio 14 is not possible. Tickets are available at the box office at the Uferstudios on the day of the performance from 6: The Work is an untitled interactive sculpture that can be considered a somatic structure.
Spatially it proposes properties of division and integration, activity and observation; as a threshold it stages transition. It is an exploration of inner and outer physical space that integrates movement, voice, audio loops and language. It is involved with the concept that cognition is a process of abstraction. Can choreography be a human invention to make sense of how non-human bodies move in space and time? It is orbiting around the sun.
The comet will reach the furthest point from the sun in Then it will make a turn towards the closest point from the sun. We expect to see it again in When we first tried to remember it was at the end of every session, or halfway through. Now it is immediately, and this self-objectification, this communication of findings has become the practice.
A game of languaging action and actioning language structures our relations, subjections, and objectifications. We deconstruct ourselves while we build a world around us. P dance takes the folk costume from Podence in Portugal as a starting point to explore rites of passage and social practices still present in folk traditions in many European countries. The Agency of Touch , a one-on-one tactile performance is a social intervention utilizing touch, bodily-sensorial awareness and connectivity as a vehicle for corporeal communication.
This space privileges touch and physical experiences over the visual experience that dominates contemporary technological society. I 6 pm I Presentation: Who's the Party now, Sister? Through modes of re-doing, like re-appropriating, re-enacting, tribute acts and artistic response, they will question the politics of redoing the already done. In doing so they ask what gets remembered, what gets forgotten, by whom and how? During the residency the public is invited for three events: The strangest thought came to me on this morning, as I awoke to greet the coming dawn.
The sun was hardly peaking through the garden, it felt that with everything I was one. Then I wished that I could come back as a flower. Stevie Wonder, The Secret Life of Plants Since the beginning of the 20th century a communication between humans and plants was attempted in a variety of technical, aesthetic and esoteric media.
The lecture looks at the history of this presumably marginal endeavor in biology, modern dance and popular culture. Eike Wittrock is a dance historian and curator, who tries to uncover the critical and utopic potential of dance history.
His research has been presented both in academic as well as artistic contexts, amongst others he collaborated with Jeremy Wade, Meg Stuart, Peaches, Cosima von Bonin, Danh Vo and Christodoulos Panayiotou. Music, as in the case of all other art forms, developed rapidly in the 20 th century and diversified into numerous styles and contexts. One hundred years after the start of the documentation of music via audio recording, the field has become vast and unmanageable; this is amplified by constantly increasing access in the internet era.
The problem is not so much finding something, but rather to know what one should — and can — look for. With examples of traditional choral music from Europe, Asia and Africa; experimental and contemporary composed music, blues, Dada, pop, jazz, among others. He is exploring the minutiae of sound, timbre and noise, with a particular interest in microtonality and related sound phenomena, and with a preference for long-term collaborations and collective work.
I Philosophy of Metamorphosis. Invention of Metamorphosis and Emancipation of Art. I Metamorphosis of Philosophy. How to Transform the Transformation? In the third and fourth part of the lecture series, Boyan Manchev discusses how philosophy and art are involved with, contribute to or contrast with the flexible schemes and production forms of a contemporary performative society.
How do they react to the forms of existence that are increasingly reduced to standardized patterns, desirable forms and transformations? How can philosophy and art stem themselves against the modern imperative of transformation and — if at all — do it justice? I 18 Uhr I Let's fantasize about dance, baby!
When different disciplines collide, the result is not necessarily accident damage in need of repair. Primarily, something new or a third thing is created, an idea of provocation of disorder and reciprocal infection. Thus a temporary campus emerges on which the teachers and the students can both meet in interdisciplinary constellations.
The final presentation of the Kollision will take place at Studio 14 in the Uferstudios on Friday 8. In addition, work results will be presented in the form of an exhibition in Studio Movement Workshop For anyone who is curious and interested in movement. Information and the programme of the studio showings on the HZT website at the beginning of July. What is meant by the term research presentation when it comes to arts practice? What form could it take? Who and what is it for? How can art practice be considered knowledge, and, how can the acquisition of this knowledge be demonstrated and accounted for a discourse?
What are the means by which learning procedures and insights of such knowledge production, can be made visible? In short how do the students learn what they learn? Over the course of these two nights students will illustrate and elaborate their varied approaches to performance research in the form of performative formats and an artist workbook and give an insight into their final masters presentation in the following semester. This includes performances, discussions, installations, and more.
Due to restricted seating there is a maximum of 60 places. An admission list will be at the door 30 minutes before each presentation. Bojana Kunst und Sergei Pristas. The task of the series of 3 lectures given by Boyan Manchev, Bojana Kunst and Sergej Pristas is to establish interpretative frame to discuss questions of performance labour and forms of production, as well as their ongoing transformation.
In his first lecture Boyan Manchev will introduce the question of non-human agencies in performance, respectively of new forms of production and organisation of labour. Zu diesen erstmals stattfindenden Spielen treten ca. This intensive workshop joins methods of experimentation in site-specific movement practice and documentation. Alys Longley and Paula Kramer will share and expand their movement research in: Working on-site with and through material agency and intermaterial confederations, proposing that dances come into being through collaborative processes that cross the human — non-human divide.
Working with movement-initiated writing, which treats writing as an expanded field of drawing and gestural mark making, emerging from sensoriums of embodiment and site. Together with the participants they will explore the role of things, objects and materials as well as tangential, non-linear and affective registers of writing as allowing for multiple kinds of thinking and being to co-exist in the making of dances. During this time anyone interested is invited to join Alys and Paula for half-day collaborative exchanges free of charge. Paula Kramer is an outdoor movement expert, who researches, performs and teaches in both rural and urban sites.
She has a background in political science and is currently in the process of submitting her practice-as-research PhD in Dance at Coventry University. Her work attends to materiality in the context of dance making, but also of living. Alys Longley is a performance maker, researcher and teacher. Her interests include practice-led research, interdisciplinary projects, ethnography, narrative research, somatic practices, ecology and inclusive dance education. Her key area of expertise is in the relationship between performance writing and practice-led research.
She is senior lecturer in Dance at the University of Auckland. Free for HZT students! Paula Kramer - paula paulakramer. Beginning with an observation of its emanation from s Free Jazz up to current forms of reductionism and durational music, this lecture concentrates on the aesthetic, social and political developments that have made the city an international centre for innovation and ground-breaking music. This lecture is made up of a short performance, a lecture and an open discussion.
It will address questions of listening in relation to practices in improvised music and offer an inspiring starting point for those who are new to the topic. Tom Arthurs , UK is a trumpet player, composer and internationally renowned for his research in the fields of jazz and improvised music. He is presently working on his doctorate at the University of Edinburgh with Prof.
Straining to Translate You. In her lecture she will give some insight into her research. Radio Strainer premiered at Window Gallery and the Kenneth Myers Centre, Auckland in May in the forms of choreography, dance film and installation. The installation featured large-format photographs and three video works, alongside a thirty-minute choreography for three dancers. It documents a process of experimentation with a wide range of conventional and experimental translation practices.
These include the translation of ideas into different languages Japanese, English, Maori, Italian , and forms choreography, improvisation, contact improvisation, somatic investigation, poetry, monologue, drawing, print, binding, film, photography, critical theory. In this lecture at HZT I will reflect on processes that enable a continuous fold between performance, page, digital archive and material object. My presentation will be in the form of a lecture demonstration, splicing together different versions of the work, and concluding with a broader discussion of experimental documentation as an iteration of performance.
She has recently led the project fluid city, an art-science-education project on water-sustainability. Some notes on critique and practice in current dance and performance practice. In this lecture I want to address the stake of criticality and practice in dance and performance as it operates in higher education programs as well as in a broader artistic context.
To what extent can current dance and performance practices be understood as critical? If dance and performance have turned into critical practices, does that mean they have replaced understandings of dance and performance based on notions of virtuosity and skill? In her thesis, supervised by professor Peter Osborne, she investigates the concept of performance within contemporary art and from the standpoint of concepts of labour in Marx, Adorno and other thinkers.
But what is exactly meant by that? I want to shed light on the concept as it is developed by Michel Foucault, asking what its benefit in an art education might be. On the other hand the daily practice of teaching shows that it is still very much unclear how the embedding of theory in the artistic study environment can work in a way that at the end of the day does not rest on the very same old opposition. Are we facing a transformation of the very idea of living body and organism?
Are we entering an era of radical dis-organisation? And how does this transformed situation affect the bodies that perform? The HZT is very much looking forward to the upcoming month of April. Since pleasant anticipation is part of the pleasure, one can hear it hustle and rustle in the studios, chatter and twitter in the courtyard. Under the motto POP! The festival kick-off will be on Those of you who always wanted to present his diva or her mysterious Mr.
Macho in a frenetic catwalk show are in exactly the right place. If you feel under-dressed, the follow-up slumber party might eradicate that feeling. On the evenings of the 18th, 19th and 22nd, 23th and 24th of April , the students will show their works, ranging from one-on-one-shows, solos and group pieces to video screenings, installations and participatory open-air-actions.
For more information on specific events, please check www. Stay tuned with our live-stream; it will announce additional events from the 7th of April on. Free admission to all events. Tickets at the box office. Box office opens 45 minutes before the show starts. Come early to avoid disappointment - it's first come first serve! As in past years, graduates of the School for New Dance Development Amsterdam will present their final projects at the Uferstudios on two evenings with two different programmes.
Ticket reservations up to 1 day before the event. Please indicate the day of the event: In her lecture, the voice anthropologist and singer Ulrike Sowodniok will present the larynx as the central organ not only for vocals but also for movement; it allows us to consider a new functional understanding of our bodies. The sound of a voice is a reflection of the interior condition of the larynx and makes it possible for us to develop it as a perceptive organ. In this process, we can develop new qualities of movement in which the voice and movement are coordinated effortlessly.
We will get to know and discuss phenomenological and physiological perspectives.