CONTEMPORARY
ANNOTATION TO THE CONTEMPORARY LESSON The lesson begins with a warm-up, which is devoted to the overall warming up of the body in the form of improvisational techniques with breathing. Movement is performed from the center to the periphery, later using different parts of the body to guide the movement. The technique involves working with the ground, moving through space and interacting with others. Part of the process is also changing the dynamics and inducing feelings, it uses the student's imagination. This technique takes place in two phases, between which stabilization exercises are inserted to strengthen and balance the body, as well as stretching of the main muscle groups. Later, the exercise is used to control the body as a compact unit. The next passage is partly devoted to the technique according to Kňazev, followed by relaxation and high-quality stretching with elements of yoga, physiotherapy and dance stretching. The warm up is finished by reactivating the body into a vertical position with so-called facial gymnastics. The second part of the lesson is the practice of dance variation, which emphasizes musicality, emotional level and personality development in movement. We use techniques from the warm up as well as our own natur or other techniques learned by the student. Personal speech is greatly appreciated. The purpose of the variation is to open up to new approaches, to relax the psyche, to push one's own boundaries... Space is left for questions and discussion, the pace is brisk. In the process, a joint choreography is created using the contribution of the students themselves.
LYRICAL MODERN JAZZ
ANNOTATION FOR LYRICAL MODERN JAZZ LESSON The lesson starts with a warm-up, which is devoted to the overall warming up of the body with breathing. The movement is carried out from the center to the periphery, first we engage the torso in the form of rolling, bouncing using all available planes in space. Emphasis is placed on the center/base of the body, which should be firm. I combine modern techniques with elements of yoga and breathing exercises. Later, I do balance exercises, weight transfer and a classic combination of legs with trunk coordination and port de bras. The next passage is partly devoted to the technique according to Kňazev, followed by relaxation and high-quality stretching with elements of yoga, physiotherapy and dance stretching. The warm up is finished by reactivating the body into a vertical position with so-called facial gymnastics. In the second part, I deal with the so-called "cross the floor", which is supposed to prepare students technically and dance-wise for the final variation. I always use elements that are later used in combination, on both sides. This part of the warm-up conveniently bridges the warm-up itself and the variation. I work on the development of both hemispheres, movement memory, aesthetic expression and perception of music. Students, on the other hand, prepare the combination themselves. The third part of the lesson is the practice of dance variation, which emphasizes musicality, emotional level and personality development in movement. When conducting, I place emphasis on understanding and understanding the movement in the context of the content of the piece. I use techniques from the warm up as well as my own natur or other techniques learned by the student. Personal expression and the ability to empathize are highly valued. A variation uses the text of a selected piece or has a certain story.. so the way of communication is important in dance. There is room for questions and discussion, the pace is brisk. Finally, the learned variation is danced several times in order to improve the execution itself and the expression with experience.
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.