Mar 31 / Blanch Evan's Improvisational Methods: Physicalizing

 

Unit: Blanche Evan's Improvisational Methods

Theme: Physicalizing

 

I

Introduction

Continuing with our unit on Blanche Evan's methodology, today, we will explore physicalizing. For the dancer in general, physicalizing means putting into movement an idea, a memory, a feeling, that has been previously stored on a cognitive realm.

 

II 

Learning Objectives

 

• Understand the ideas behind physicalizing while improvising
• Explain the ideas, memories and feelings expressed during physicalizing
• Gain awareness of the use of free associations when using ideas, memories and feelings while improvising
• Experience solo and group dance improv using the concept
• Reflect on the creative process at the end of the lesson
  

 

 III

 Main Lesson 

1

 WARM UP

Stretching 

 

2

 Evan's Concept for Today

Physicalizing: 

Question 1

After reading Evan's ideas about physicalizing, briefly describe in writing an idea, a memory, a feeling that you may identify as your theme for today's work.  

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3

 ACTIVITY 1

 Click on the link below

Fictional Characters / Commedia dell'arte

 

• Go to your group
• Choose one character 
• Study what the character is about
• Create an 8 actions phrase the reveal the character's personality
• Design a second improv phrase where group members dance free style
• Come back to original phrase (a to-go phrase)
• Add music that complements the character's personality
• Share with the class
• Write about the experience and take-aways
  

 

 

 

 ACTIVITY 2

 

Improvisation Exercise (10 min)

Today we are addressing  physicalizing, which is about recreating an idea, a memory, a feeling, (that has been  previously stored on a cognitive realm) through movement.

So, now let us again delve fully into body movement and creative dance improvisation using the theme you described in question 4.

Follow the following order:

Explore: Movement exploration to begin to be conscious of an idea, or a memory. Begin to feel feelings. Choose an idea, memory of feeling you want to use as your theme or motif (2 min)

Identify: Identify those feelings when they are felt (2 min)

Express: Express these feelings in movement metaphors (2 min)

Connect: Find the connection between your movement metaphors
               and the theme you chose (2 min)

Choose 8 moves and create your dance or movement phrase.

 Question 2

Write a brief reflection of your creative process.

Record and post your movement phrase for today. 

 

4

Read the Preface of the Book

Improvising Improvisation: From Out of Philosophy, Music, Dance and Literature

Preface 

Gary Peters 

 https://www.google.com/books/edition/Improvising_Improvisation/D5YtDwAAQBAJ?hl=en&gbpv=1&dq=Dance+Improvisation&printsec=frontcover

Peters, Gary (2017). Improvising Improvisation: From Out of Philosophy, Music, Dance and Literature. University of Chicago Press.

 

Question 3

Summarize the content of the preface.

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IV 

 

A Note to Remember

In dance, "physicalizing" refers to the process of understanding and expressing movement through the body, developing physical skills, and connecting movement with emotions and id

 

V 

 

Case Studies 

1

Solo Dance Improvisation

Example of what physicalizing could look and feel like.

Raw Movement Project | Abby Lopac 

As artists, we all have something that drives our artistic flavor, but rarely do we get the opportunity to embrace and celebrate that individuality. RAW movement is a project that aims to shed light on the difficulties and challenges we face as well as the moments that bring joy and how dance is an outlet to heal, lift, and encourage us as we walk through this thing we call life. We invite dancers of all backgrounds to open up and be vulnerable, to be RAW with us as we try to create a place where we can celebrate dance! We want to see YOU, in all your RAW beauty!

 

Question 4

Write a brief response to this video. 

 

Question 5

 

How does it relate to your own experience as a dancer physicalizing an idea, a memory, or a feeling, that has been  previously stored on a cognitive realm?

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2

  Inspirational Video

 Solo Improvisation

  

Lewis Cooke,  a London Contemporary Dance School 3rd year student doing some improvisation in the studio in 2015. Filming and editing Reece Calver. 

Question 6

Notice that in this video we see a male dancer. How does watching this video affect your appreciation for dance improvisation as a male or a female dance student?

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3

Students' Work (from previous semester)

 Lauren Trentacoste

Question 7

 

How do you think the site-specific improvisation dance Lauren Trentacoste created affects her movement choices?

 

 

VI

Journaling

 

VII

Glossary

 

VIII

Sources

 

IX

Students' Work

 

William Brodsky

Question 1: Describe an idea, memory, or feeling you chose to physicalize.

 
For today's work, I chose the feeling of anticipation—the heightened, almost buzzing state right before something important happens. It’s that strange mix of excitement and fear that fills your body but doesn't always have a clear outlet. I wanted to explore what anticipation feels like physically, rather than intellectualizing it.

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Question 2: Reflection on the creative process.

 
I started with quick, staccato movements that stopped abruptly, like starting to leap but catching myself midair. I noticed how anticipation lives in pauses and half-finished gestures—the tension of the "almost." As I explored, I added spirals, slight jumps, and moments where my arms reached forward but never fully extended, symbolizing reaching for something just out of grasp. Choosing eight movements to express this was powerful because it forced me to distill a complex emotion into clear physical metaphors. This process reminded me that improvisation doesn't have to explain feelings—it embodies them.

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Question 3: Response to Raw Movement Project | Abby Lopac Video.

 
Abby Lopac’s movement was so authentic and vulnerable that it felt like watching someone write a diary with their body. What stood out most was her willingness to stay with uncomfortable emotions without forcing them into "beautiful" shapes. It gave her movement a rawness that felt honest. It inspired me to be less focused on what my movement looks like and more focused on what it feels like.

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Question 4: How this relates to my experience physicalizing.

 
This relates directly to my experience today because physicalizing anticipation meant being okay with not resolving a movement. Just like Abby allowed emotions to unfold without rushing, I had to stay present with incomplete gestures and uncomfortable pauses. It was a reminder that dance improvisation is not about performing emotions—it’s about experiencing them fully through the body.

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Question 5: Response to Lewis Cooke’s Solo Improvisation Video.

 
Watching Lewis Cooke improvise expanded my appreciation for dance improvisation as a male dancer. His movement was both powerful and delicate, proving that strength and vulnerability can coexist. Seeing another male dancer move so freely without self-consciousness was encouraging. It made me realize that improvisation isn't about fitting into a gendered style—it's about authenticity. As a male student, it reassured me that expressing a full emotional range through dance is not only acceptable but deeply powerful.

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Final Reflection:

 
Today’s practice of physicalizing taught me that the body can store emotions and ideas long after the mind thinks it has moved on. Movement can retrieve, express, and even transform those stored experiences. Blanche Evan’s method helped me realize that dance improvisation isn’t just about movement—it’s about accessing deeper layers of memory, feeling, and imagination that words often can’t reach.