Nummer und Typ	MDA-MDA-1200.20F.003 / Moduldurchführung
Modul	Theoriemodul - 2 Credits
Veranstalter	Departement Darstellende Künste und Film
Leitung	Elna Matamoros
Zeit	Di 19. Mai 2020 bis Fr 22. Mai 2020 / 14–19 Uhr
Anzahl Teilnehmende	2 - 16
ECTS	2 Credits
Lehrform	Theory module (Dance Analysis, Didactics, Elective Theory)
Zielgruppen	Master Dance / Mandatory first year students / Profile: Teaching and Coaching Dance Professionals
Inhalte	Working as a Ballet Master in a Dance Company becomes a fundamental tool in the transmission process of a choreography. Either assisting the choreographer during the creative process of a new piece or re-staging a pre-existing dance, the responsibility of coaching is always complex and demanding. Nevertheless, there are analytical and artistic skills that make the work not only successful for both the dancer and the choreographer, but also extremely exciting for the Maître de Ballet. Find your own way to integrate the choreographer's specific language, build the appropriate atmosphere in the studio and get the dancers involved through the process in order to achieve artistic excellence on stage. ELNA MATAMOROS Dr. phil. Elna Matamoros (Madrid, 1972) works as a Ballet Mistress at the Ballet Nacional de España., where she had already worked between 2002 and 2012; she was then invited to join the Compañía Nacional de Danza of Spain (CND) as a Ballet Mistress by José Martínez, its Artistic Director. During her past seasons at the CND, Ms. Matamoros was in charge of ballets by August Bournonville, Jules Perrot, Marius Petipa, George Balanchine, William Forsythe, Itzik Galili, Tony Fabre, Léonide Massine or Martínez’s own version of the classical ballets such as Don Quixote or The Nutcracker, and his ballets Sonatas and Delibes pas de deux. In 2014, she staged Bournonville’s Flower Festival in Genzano for the 35th Anniversary of the CND. In 2016, Ms. Matamoros reconstructed for Elena Vostrotina the version that Mikhail Fokine staged of his emblematic solo The Dying Swan for Elna Ørnberg while he was in Denmark in 1925; it was danced at the Gala Roberto Bolle and friends at the Teatro Reggio di Parma, in Italy. Her work is complemented with her contributions to Dance Theory and History, as well as with different activities for the dissemination of the Arts. As a dancer she was first trained by her mother, Carmina Ocaña, following the Danish Ballet School established by August Bournonville in the 19th century. After graduating with Honours in Madrid, she studied in New York at the Joffrey Ballet School and mainly under the tutelage of Wilhelm Burmann and David Howard. She is Associate Professor at Universidad Rey Juan Carlos (BA & MA in Dance, Department of Arts & Humanities), and Guest Professor at Universidad Autónoma de Madrid (Master in Dance Education) and Zürcher Hochschule der Künste. Ms. Matamoros is also a frequent collaborator of Fundación LOEWE, Fundación Juan March, Fulbright Commission (The Fulbright Program) and FWF Austrian Science Fund, as well as the dance specialist contributor to El Cultural magazine and freelance writer on Dance and Arts. Ms. Matamoros is the author of the book Augusto Bournonville, Historia y estilo (Madrid, Akal, 2008, prefaced by Frank Andersen and Tamara Rojo), and editor, by commission of the Antonio Gades Foundation, of the book Carmen/Gades 25 Años (Madrid, Fundación Autor, 2008). Her blog Once Upon a Chácena (onceuponachacena.com) explains the interiorities of the performing arts from the perspective of the artist. Moreover, Ms. Matamoros is the author and editor of the six-volume collection of Cuadernos Educativos de la Compañía Nacional de Danza (Educational Booklets of the CND) about choreographers, styles, historical ballets and other aspects related to Performing Dance. She is currently in charge of the dance publications of the Ballet Nacional de España. Elna Matamoros has also taught at the Dresden Semperoper, Conservatorio Superior de Danza ‘María de Ávila’ in Madrid, Víctor Ullate Ballet, Ballet Hispánico School of Dance in New York, Real Conservatorio Profesional de Danza ‘Mariemma’ or Escuela de Ballet Carmina Ocaña, among other institutions. She holds a PhD in Aesthetics and Arts Theory from the Universidad Autónoma de Madrid with Cum Laude and International Special Mention (2017) and a Master of Arts in Dance Education from New York University (2000), as a Fulbright Scholar.
Leistungsnachweis / Testatanforderung	Attendance, active participation.
Termine	19.05 - 22.02.2020, 14:00-19:00
Dauer	14:00-19:00
Bewertungsform	bestanden / nicht bestanden
Sprache	Englisch
Bemerkung	Registration for MA Dance students via Clickenroll

Vorlesungsverzeichnis

Dance Coaching as a link between choreographer and dancer

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