By Daniel Nagrin

After a profession in dance as a performer, choreographer, and instructor - Daniel Nagrin has now written this booklet. In it he explores the roots of his aesthetic philosophy, stimulated through Stanislavski, Helen Tamiris, Joseph Chaikin and the Open Theatre, and his paintings off and on Broadway as an actor and a dancer. "Dance and the categorical photo" contains over a hundred improvisational constructions that Nagrin created along with his corporation, the Workgroup, and has taught in dance periods and workshops all around the usa. Designed essentially for dancers, many might be tailored for actors and musicians. within the Sixties, at a time while many glossy dancers have been operating with flow as abstraction, Nagrin grew to become as an alternative in the direction of stream as metaphor. His passionate trust that dance has to be approximately whatever led him to chanced on Workgroup, a small corporation of dancers who, within the early Seventies, dedicated themselves to the perform and function of improvisation. "Dance and the explicit picture" is designed to be learn by means of the final reader attracted to dance background and philosophy in addition to via scholars and lecturers who could benefit from the options he describes. Nagrin invitations the reader into the brain of a dancer absolutely absorbed in his paintings.

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One occasionally runs across the myth that actors can go mad, unable to free themselves of a role. The closest this comes to reality, in my experience, is that some film actors say they became depressed when working for several months on a grim character; but most indicate that when the shooting is over, they emerge from it. I've never heard of any person of the theatre getting irretrievably lost in a character other than their own-except for people with a history of mental imbalance, and they were not in the profession.

The second is to look past the self and seek the object, the task, the other. In projecting this aesthetic, I use two examples. he is riding at that moment. You can't surf the last wave or the next wave, only this wave. The other example is possibly more helpful. I will pick a dancer who is wearing a leotard, asking him or her to stand, and point to the garment saying, "This piece of clothing will fit perfectly at least one eighth of the adult women of the world, or men, as the case may be. Centuries upon centuries of tailors and dressmakers have tried to make a garment really fit the body.

At the time, I had no inkling where this little exercise would lead us. Perhaps she will read this and know that I thank her and, while I'm at it, the rest of that group of young actors and dancers who took every challenge I threw at them and carried them further than I expected. They opened doors for me. In Austin, Texas, at times all hell broke loose but that's where the Workgroup idea was borneven though I didn't know it at the time. C. every Thursday morning and returned to New York late on Friday.

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