Scroll down

The representation in the dance.

From the moment we enter the space, mostly a dance floor, it's a spectacle. We transform from bank clerk to dancer, from hairdresser to dancer and from waiter to performer.

It's the world we chose. The dance world, a piece of dream world, a piece of illusion, but also a large piece of truth.

Our performance essentially depends on two components that we have already discussed: The combination of choreography and emotions. If we know how we do it, it becomes exciting, because then we are emotionally connected to the learned movements. If we know what one or the other choreography or just a part of it is supposed to say (the choreographer's specification), then we can even score with content and give this movement image even more depth.

We should deny a further learning path when performing, namely the path to one's own ego. When I know who I am, it's easier for me to portray something, because then I know what I'm portraying. Thus, there is no "nonsense" in movements on the surface and one appears "believable". It's a big word, but credibility is what makes us decide whether we'd like to see an actor again in the cinema or whether we loved a film. With credibility we can convince an audience and take them into dream worlds, let them revel there.