By Libby Worth
This guidebook lines the life's paintings of radical dance-maker Anna Halprin, documenting her early profession as a latest dancer within the Nineteen Forties via to the improvement of her groundbreaking method of dance as an available paintings shape. lifestyles and paintings -- idea and perform -- The mountain performances, Circle the earth, and The planetary dance -- sensible explorations
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Additional resources for Anna Halprin (Routledge Performance Practitioners)
Recognizing that ‘drastic changes’ (Halprin 1995: 66) were needed she went into retreat and undertook an intensive emotional and physical exploration of her personal process through movement and drawing. As a result of this she created a personal ritual which effected a transformation in her healing process. She created two larger than life self-portraits, one an idealized image of herself as young and healthy and, on the reverse side, an angry and violent picture of her ‘shadow’ side. Supported by an intimate group of witnesses Halprin danced ﬁrst the negative image releasing acute feelings of rage and pain and then her original portrait imagining herself being cleansed by mountain LIFE AND WORK 33 34 LIFE AND WORK cascades ﬂowing through her body.
Originally a community artist from the Great Georges’ Community Arts project in Liverpool, MacRitchie had worked with Halprin at the Dancers’ Workshop in the early 1970s. The Natural Dance Workshop, operating concurrently with the burgeoning New Dance movement and the growth movement, offered a highly successful workshop programme open to everyone, which challenged elitist and stylized approaches to dance. 6 Citydance, San Francisco, 1976, 1977. Photographer unknown, from Anna Halprin’s personal archive large-scale participatory dance events and environmental performances.
Theatrical performances slipped into the background as Halprin began to focus her attention on investigating the inter-relationship between art and personal process, the creation of dances which carried meaning for the individuals and groups involved, dances which had the power to effect change in people’s lives. In the last two decades of the twentieth century Halprin developed the use of dance and visualizations, now referred to as the Psychokinetic Visualization Process, with people facing life-threatening illness.
Anna Halprin (Routledge Performance Practitioners) by Libby Worth