LINDA RANČÁKOVÁ
Choreographer, dance instructor
Linda works in the Czech Republic and abroad. She studied Modern and Modern Jazz techniques at the Calabria Artedanza "Broadway In Tropea" workshops in Calabria under the guidance of dance instructors from the Broadway Dance Center in N.Y.C. She has collaborated with Keira Knightley, Jason Clarke and other actors she has mentored in film choreography, with choreographers such as Michael Rooney, Michael Nunn, William Trevitt, Mia Michaels, Kristian Cellini, and others, and with renowned directors such as Ridley Scott, Tarsem Singh,Wi mWendersMI-ZOandothers.
WORKSHOPS
CONTEMPORARY
ANNOTATION FOR CONTEMPORARY CLASS The lesson starts with a warm-up, which focuses on the overall warm-up of the body in the form of improvisational techniques with breathing. Movement is done from the center to the periphery, with later use of different parts of the body to guide the movement. Technique includes floorwork, moving through space and interacting with others. Changing dynamics and evoking feelings is also part of the process, using the student's imagination. The technique is done in two phases, with a stabilization exercise inplanted in between to practice strengthening and balancing the body, as well as stretching the major muscle groups. Later, the exercise is used to control the body as a compact whole. The next passage is partly devoted to technique according to Knyazev, followed by relaxation and quality stretching with elements of yoga, physiotherapy and dance stretching. Warm up is finished with the reactivation of the body into a vertical position with the so-called facial gymnastics. The second part of the class is a dance variation training that emphasizes musicality, emotional level and personality development in movement. We use techniques from warm ups as well as the student's own naturals or other learned technique. Personal expression is highly valued. The purpose of the variation is to open up to new approaches, free the psyche, push one's own boundaries... Space is left for questions and discussion, the tempo is brisk. Throughout, a collaborative choreography is created using input from the students themselves.
LYRICAL MODERN JAZZ
ANNOTATION TO THE LESSON LYRICAL MODERN JAZZ The lesson starts with a warm-up, which focuses on the overall body warm-up with breathing. Movement is done from the center to the periphery, first engaging the torso in the form of rolls, bounces using all available planes in space. Emphasis is placed on the centre/base of the body to be firm. I combine modern techniques with elements of yoga and breathing exercises. Later I cover balance exercises, weight transfer and classical leg combinations with body coordination and port de bras . The next passage is partly devoted to technique according to Knyazev, followed by relaxation and quality stretching with elements of yoga, physiotherapy and dance stretching. Warm up is finished with reactivation of the body into a vertical position with the so-called facial gymnastics. In the second part, I cover the so called "cross the floor" to prepare the students technically and dancingly for the final variation. I always use elements that are later used in combination, both ways. This part of the warm-up appropriately bridges the actual warm-up and variation. I work on the development of both hemispheres, movement memory, aesthetic expression and music perception. Students prepare the combination for the other side on their own. The third part of the lesson is the training of dance variations, which emphasizes musicality, emotional level and personality development in movement. When leading, I emphasize understanding and comprehension of the movement in context with the content of the piece. I use techniques from warm ups as well as the student's own natural or other learned technique. Personal expression and the ability to empathize are highly valued. The variation uses the lyrics of the chosen piece or has a story.. so in dance the method of communication is important. Space is left for questions and discussion, and the tempo is brisk. Finally, the learned variation is danced several times to refine the actual performance and expression with feeling.
STRETCHING
ANNOTATION FOR THE STRETCHING LESSON The lesson begins with a light and simple warm-up of the body with aerobic activity, activation of blood circulation and subsequent calming. Depending on the type of stretch, other parts follow, including, for example, practicing proper breathing, explaining the basic correct principles of stretching and post-isometric relaxation (PIR). We perform stretching not only with the help of breathing, but also use the weight of our own body and gravity in cooperation with the correct body positions and their variants. The stretching is concluded with feedback activation, body excitation using appropriate muscle tension with verticalization. The lesson is variable and suitable for anyone regardless of age or movement experience. For dancers, I then perform advanced stretching, using PIR and it takes place as a flow.