{"id":1015,"date":"2024-04-07T14:28:36","date_gmt":"2024-04-07T14:28:36","guid":{"rendered":"https:\/\/lab-o.art\/?page_id=1015"},"modified":"2024-04-11T15:44:14","modified_gmt":"2024-04-11T15:44:14","slug":"lab-sh-sylvie-huysman","status":"publish","type":"page","link":"https:\/\/lab-o.art\/en\/external-network\/lab-sh-sylvie-huysman\/","title":{"rendered":"LAB SH \/ Sylvie Huysman"},"content":{"rendered":"\n
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Physical Artistic Awareness<\/h1>\n\n\n\n

In my Physical Artistic Awareness classes, on the one hand I emphasize a basic knowledge and basic awareness of the body<\/mark>, certain muscle groups and the skeleton per se. Not in a theoretical way, but by feeling and doing<\/mark>. My focus is often on the sacrum and sacrum because for me these are two important points from which movement starts<\/mark>. The spinal column and its various directions, rotations – in short, movements – is also often a starting point. On the other hand, I emphasize movement deployment with a view to a more theatrical or performative approach<\/mark>. <\/p>\n<\/div>\n\n\n\n

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Why<\/h3>\n\n\n\n

I find it very interesting to guide students in exploring a particular physical and mental concentration. For example, a performer may be “consciously ‘not conscious’ or absorbed by a certain concentration (absorption)” on the floor. Or the opposite, very consciously opening to an audience, which has a clear impact on how a body responds to the floor. Also, in relation to each other and to peripheral space. <\/p>\n\n\n\n

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Skills<\/h3>\n\n\n\n