The rEvolve facilitator training program has been designed with the vision of increasing the numbers of people being involved in dance theatre across Australia and the world. rEvolve facilitators competently work with people with disabilities and (in Australia) are NDIS ready.
rEvolve works in 4 practice areas:
1. Learning a movement language;
2. Exploring the creative capacity;
1. A Movement Language. Our human bodies have an enormous number of movement combinations. Imagine the smallest movement of a single joint through any specific range of motion. Add to that a specific speed. Add to that repetitions at variable speeds. Add to that the movement through space . THE NUMBER OF MOVEMENT PHRASES ARE UNIMAGINEABLE!!
The lessons in the rEvolve program progress incrementally, the types of problems vary and become more complex. Each lesson is met by a success that comes from being in the work. Facilitators learn to nuance the lessons for the
2. Exploring the creative capacity. The human being is, essentially, a creative being. In the rEvolve method, our creative capacity is brought to bear from the very first lesson through the setting of movement problems under the dictum, 'there is no wrong answer". As we play with motion, speed, coordination, and rhythm, we can explore engagement, emotion, character, plot or abstractions. Our potential for communicating and designing stories with our movement is extraordinary.
Creative exercises are undertaken individually, with partners, teams, and by the whole group. The dancers' memories are enhanced along with the ability to bring a more complex movement language to bear without overwhelming the capabilities of the dancers. rEvolve facilitators work with dancers to design exercises with a sense of modest challenge, fun and achievement.
3. Collaboration. We are the conversations we are part of. The rEvolve facilitator holds a space for dancers to work together in finding a team solution to creative movement challenges, and performance design. Dancers learn to honour the collaborative solution. For the experienced dancer, this can mean being comfortable with giving up a learnt solution. For the inexperienced dancer, this could mean being comfortable to be in expression with this new form of work. The collaboration creates something identifiably the work of that particular team.
Dancers learn adaptability through working in different groupings. Ultimately, dancers can find themselves developing leadership skills and capacity to facilitate the collaborative process with newcomers in their teams.
4. Performance. Performance is the culmination of the expression of the collaboration. At its highest potential, it is like a new organism, moving with synergies relevant to the 'genetic code' of the team. This is not a state of synchronisation but rather a state emulating identity, a network of responses that show up in aesthetic forms.
Performance is critical to human development. Indeed, we are all always in performance. Performance creates an environment for the dancer's contribution to the team and the audience.
In the rEvolve method, the dancers are sharing small performances from the very first class.
Performance allows dancers to find new challenges for technique, modalities of perfomative expression, and design. The work can utilise music and sound, lighting, costume, masks, sets, projection, and even, the live human voice. As a theatre form, it can either honour or break the 'fourth wall', that boundary between dancers and audience.
This is a pathway of continual mastery that has the lifespan of the dancer.
Performance is where the learning of a movement language, the exploration of creativity and the collaborative process has a realisation and an evaluation. It's greatest value is, therefore, in it's potential for enriching the daily performance of our human relationships.