BODYDRIVERS ®
Performance-lecture / Seminar / Master-class
Performance-lecture / Seminar / Master-class
If a building becomes architecture, then it is art
"Dance is the manifestation of life, its energy, its cyclicality, the clarity of its intention and its uniqueness in every moment. Become aware of yourself in the moment and you will realise that dance cannot begin or end, it simply is, without beginning or end. It is life itself!"
Это важно ...▷
By recognising that which is limited, we may learn more about that which is limitless.
BODYDRIVERS ®
Managing the potential and kinetics of the body
Author of the method
Konstantin Grouss
BODYDRIVERS is a practice of organising the body on 4 levels -
Duration - 90-180 min.
During the class we work out how to make a dance out of each movement and what to fill the movement with. We get the keys to our own body in line with techniques for its correct use. We use the class to strengthen the attention, to hear the pattern of external and internal rhythms, to release subtle energy flows and create your own personal dance.
The method is based on a practical approach to implementing artistic projects, visual material illustrating the range of basic dance characteristics required to form a choreographic composition. The practice of preparing the body as an artistic tool is examined -
Tuning - Integration of the body and the environment and how they interact
Spontaneous composition and awareness of it
Configuration of the movement and formation of the dance
2. Seminar
Order and time - an intensive 1 - 2 days or a creative retreat 5-10 days with a creative production in the finale
The basis of the seminar is the experience of a choreographer who uses an integral method of work that pays equal attention to the spaces of the body, mind and spirit. The dance is understood as a tool for cognition and the practice of communication at all levels of consciousness.
The seminar consists of 2 parts
Bodywork practice
Working with space and composition
The author's methodology is used in the seminar -
"Dance as a practice of invisible communication" by Konstantin Grouss
The seminar is designed for people with a basic level of training in one of the areas of work - dance, yoga, qigong or other body-oriented practices as well as for professionals. During the seminar there is an equal emphasis on individual work and work with a partner.
3. Performance lecture
Duration - 30-90 min
The main themes of the lecture are -
Konstantin Grouss
BODYDRIVERS is a practice of organising the body on 4 levels -
- physical
- intellectual
- energetic
- emotional
Duration - 90-180 min.
During the class we work out how to make a dance out of each movement and what to fill the movement with. We get the keys to our own body in line with techniques for its correct use. We use the class to strengthen the attention, to hear the pattern of external and internal rhythms, to release subtle energy flows and create your own personal dance.
The method is based on a practical approach to implementing artistic projects, visual material illustrating the range of basic dance characteristics required to form a choreographic composition. The practice of preparing the body as an artistic tool is examined -
Tuning - Integration of the body and the environment and how they interact
Spontaneous composition and awareness of it
Configuration of the movement and formation of the dance
2. Seminar
Order and time - an intensive 1 - 2 days or a creative retreat 5-10 days with a creative production in the finale
The basis of the seminar is the experience of a choreographer who uses an integral method of work that pays equal attention to the spaces of the body, mind and spirit. The dance is understood as a tool for cognition and the practice of communication at all levels of consciousness.
The seminar consists of 2 parts
Bodywork practice
Working with space and composition
The author's methodology is used in the seminar -
"Dance as a practice of invisible communication" by Konstantin Grouss
The seminar is designed for people with a basic level of training in one of the areas of work - dance, yoga, qigong or other body-oriented practices as well as for professionals. During the seminar there is an equal emphasis on individual work and work with a partner.
3. Performance lecture
Duration - 30-90 min
The main themes of the lecture are -
- Channels of perception and dance
- Rhythm, visual, auditory, tactile and other sensations - Movement and perception - Discreteness and extension
- Sensors of the body
- Exterior and interior stimuli - Stimulus-based sensory analysis - Physical interpretation of sensory information - Movement techniques
- Intelligent analysis
- Movement patterns - spatial and bodily - Intellectual information and analysis - Structuring everyday information
- Spatial drawing and composition
- Contours and anchor points of composition in space - Rhythm, Sound, Energy - Development of composition in movement - Shaping structure - Continuity, Energy, Completeness
Video "Warm memories of the winter"
/fragment of the programme/
This is our joint project with Anna Toncheva, the musician, 'Warm Memories of Winter'. The first published fragment is set to music by Cesare Negri, a composer and choreographer from the 16th century. This will be followed by several more fragments recorded by us using authentic instruments of the time.
In addition to the stage programme, we also perform the BODYDRIVERS training which I have developed as part of my professional practice to unleash the potential of the body and free movement. In the joint training with Anna we address the topic of dance in its retrospective and organically connect it with the modern technique of movement. The result is an interesting composition. The footage for this video was shot by different cameramen at different times. My thanks to Sasha Fedorov (@bad.planet) for filming my class and to Lera Sabirova (@my.poetic.body) for organising it. Thank you to Lena Scheglova and Kirill Didenko for filming on stage and in the hall. Thank you to the beautiful Ester Lein (@lein.ester) for the costume for the dance! And, of course, thank you to the beloved space of the Creative Castle Guslitsa, where we performed and filmed everything!
Music - Cesare Negri
Lute - Anna Toncheva
Dance/Choreography - Konstantin Grouss
Costumes Dance - Ester Lein
Cameramen - Elena Sheglova, Alexander Fedorov, Kirill Didenko
Editing - Konstantin Grouss
Fragments of BODYDRIVERS class is used
Filmed at the GUSLITSA Creative Castle
This is our joint project with Anna Toncheva, the musician, 'Warm Memories of Winter'. The first published fragment is set to music by Cesare Negri, a composer and choreographer from the 16th century. This will be followed by several more fragments recorded by us using authentic instruments of the time.
In addition to the stage programme, we also perform the BODYDRIVERS training which I have developed as part of my professional practice to unleash the potential of the body and free movement. In the joint training with Anna we address the topic of dance in its retrospective and organically connect it with the modern technique of movement. The result is an interesting composition. The footage for this video was shot by different cameramen at different times. My thanks to Sasha Fedorov (@bad.planet) for filming my class and to Lera Sabirova (@my.poetic.body) for organising it. Thank you to Lena Scheglova and Kirill Didenko for filming on stage and in the hall. Thank you to the beautiful Ester Lein (@lein.ester) for the costume for the dance! And, of course, thank you to the beloved space of the Creative Castle Guslitsa, where we performed and filmed everything!
Music - Cesare Negri
Lute - Anna Toncheva
Dance/Choreography - Konstantin Grouss
Costumes Dance - Ester Lein
Cameramen - Elena Sheglova, Alexander Fedorov, Kirill Didenko
Editing - Konstantin Grouss
Fragments of BODYDRIVERS class is used
Filmed at the GUSLITSA Creative Castle
"Warm memories of the winter"
/fragment of the programme/
Feedback from participants
Dance makes people happy
- Lera Sabirovapoet / performerFeedback on Konstantin Grouss's class:
For me, as an artist with no professional training, it is very important to develop the possibilities of the body, which I actively use on stage, and in life. At the class, we worked with different focuses of attention in the body, movement and space, learned to draw with the body through movement and observe, as if from a distance, these drawings in space, invisible traces, lines that leave hands, feet, head, fingers... Here you can get surprised and enjoy your own movements, which with different focuses of attention blossom like exotic flowers.
For me it is a new level of attention, not only to hear the inner impulse to move, but also to see, to trace with attention its manifestation in space. It is not so simple, attention needs to be trained to cover both the physical and the non-physical at the same time, to feel both the breath and the beating of the real heart, and the movement of the invisible kilometre long tail, whose presence changes so much the style and character of my dance. It's a challenging but amazingly fascinating process! I am filled with inspiration from new discoveries, meeting unfamiliar sides of myself. And on top of all that, I've had a lot of fun communicating with my own body. - Camille LubartartistFor me dance is a continuous line; in graphics, painting, drawing, movement, music, breathing... It is this approach that is very valuable to me in Kosta Grouss's classes. I have been perceiving all visible and invisible processes of existence as a dance for a long time now. Like a breath of invisible presence. A total dance. That is why I do not divide the arts within myself: it is visual arts, it is poetry, it is music... No, it's all the same. In painting and graphics my daily dance practice helps me a lot - to understand line, form, fullness and emptiness, the richness of tone and colour. That's why Kosta Grouss's classes help me, and make me happy - precisely with the precision of my understanding.
- Mikhail KolesovFilm director / breakdancerI was at a class of Konstantin, I really liked his methodology. In spirit, it is very close to me. The way he reveals the flow in the movement and organicity of each gesture in combination with the following, I was inspired not only to apply his method in dance, but also in everyday life! A huge thank you to him!
- Maria Nanzat-OolsingerKosta is an amazing person. A talented teacher who helps you find the "keys" to your movements; a magical performer who inspires you to dance; and a wonderful person with whom you can talk about any subject. After his classes I came closer to understanding the mechanics of my body. I recommend his dance classes to everyone and thank you for the experience!
- Julia HudoleiAmateurThank you for the immersion in the body. I studied choreography at a primary school for 7 years. And I wanted to continue the body and plastique classes. To learn facets of the dance world. The body has been asking to do it ever since. And that is what prompted the arrival of the Guslitsa - to visit the lesson of Konstantin Grouss. For a long time I've been dreaming to attend a lesson with the master. Sitting at home, followed the news from Guslitsa and saw, that classes have started in Guslitsa creative castle and this news prompted me to come back there. The plunge of attention into the body took place. Felt electricity begin to run and strengthen old neural connections and form new ones. Felt that I hadn't felt much before this moment. Slowing down, grounding. Turned out to be a Practice of self-love for me. Periods of mediation and dynamic practice. More aware of the movements now in normal life, this is what I noticed after the first two-hours class.
- Alexander Blinovperformer / breakdancerI had a very interesting master class from Konstantin. I liked the comparison of myself with space, and taking apart the skeleton by parts, drawing attention to certain parts of the body. He also explained what the flow is and we moved towards the shore like waves in the sea. Interesting work with space and awareness of oneself as an organism in space to melodic rhythms. For me as a non classical dancer it was very interesting to add to my baggage of knowledge. I look forward to the next class.
- Katya Kanakhinaceramic artistRepeatedly contemplated the dance of Konstantin Grouss it fascinates and holds the attention at all 100! Very useful masterclass for my body, for basics of dance. By the way the whole next day after the transformation with the body continued: as if I did the usual things in a new way - with easy grace, in the flow of dance very naturally. A miracle! And it is only 2 hours of work with the body, which flew by unnoticed) clever leading and bright inspiring images in the explanations. I want more and will be!
- Max DorozhkinartistThank you very much! Very interesting class! Listening more carefully to my inner and outer sensations, I was able to better understand the world, myself and my body. In general, to move, and dance in particular, became more joyful and interesting. Learned important subtleties. I would sign up for a class.
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Konstantin Grouss
Artist / Curator / Сhoreographer / Producer
Artist / Curator / Сhoreographer / Producer
Artistic director of 'International cultire project "Art-Residence" www.art-residence.ruArtistic director of ZERO Dance Gallery
Founder of International сulture project "Art-Residence" and «ZERO Dance Gallery»
Sphere of interest is in choreography, contemporary theatre, and integration of choreography, sculpture and video. Curatorial practice over the past years is also devoted to the study of transition from one medium into another, searching for common codes of different artistic positions.
I focus on the boundary zones between different media, searching for different types of information in both artistic and curatorial practice, which I devote equal time and attention.
Graduated from Dance and Art school and the Technical University. Studied at the "Class of expressive dance" by Gennady Abramov, Moscow. Fellow of danceWeb program, 2004, Vienna. Grant for ICR /International Choreographers In Residence/ program of ADF /American Dance Festival/, USA, 2007. Grant for SPACE Programme in contemporary art (Dublin, Ireland), 2008. Grant for Residency at OMI International Dance Collective, NY, USA, 2011. Worked with different choreographers and theatre directors: Shusaku Takeuchi (Netherlands), Yury Urnov, Valery Fokin, Tatyana Grindenko, Kirill Serebryannikov (Russia), Theodor Tezhik (Russia-Czech), Efva Lilja (Sweden), Maida Withers (USA).
Since 2009 start active work in contemporary art and became an idea creator and curator of several contemporary art festivals and exhibitions. For several years run contemporary art centre in Moscow.
"In my artistic work I try to find different paths of collaboration with dancers, musicians, artists during the time of producing a common idea and material for a new work.
I understand the creative team as sum of individuals, but strongly related to some common energy. To find this important connection everybody has to be open and very attentive at the same time. If it became possible, every moment of common experience opens new unexpected ways of living and creation.
For me it is important to be able to work in a relaxed atmosphere leading to concentration and inspiration provided by the place of work. In my opinion, the image that can be applied to artists who move from one place to another is a bee collecting pollen and nectar of information and carrying it to another place, both pollinating new processes and transforming the nectar in honey of the new art"
Curator, producer: www.art-residence.ru
"Art-Ovrag" contemporary culture festival www.street-art-ovrag.ru
Artistic director of 'International cultire project "Art-Residence" www.art-residence.ruArtistic director of ZERO Dance Gallery
Founder of International сulture project "Art-Residence" and «ZERO Dance Gallery»
Sphere of interest is in choreography, contemporary theatre, and integration of choreography, sculpture and video. Curatorial practice over the past years is also devoted to the study of transition from one medium into another, searching for common codes of different artistic positions.
I focus on the boundary zones between different media, searching for different types of information in both artistic and curatorial practice, which I devote equal time and attention.
Graduated from Dance and Art school and the Technical University. Studied at the "Class of expressive dance" by Gennady Abramov, Moscow. Fellow of danceWeb program, 2004, Vienna. Grant for ICR /International Choreographers In Residence/ program of ADF /American Dance Festival/, USA, 2007. Grant for SPACE Programme in contemporary art (Dublin, Ireland), 2008. Grant for Residency at OMI International Dance Collective, NY, USA, 2011. Worked with different choreographers and theatre directors: Shusaku Takeuchi (Netherlands), Yury Urnov, Valery Fokin, Tatyana Grindenko, Kirill Serebryannikov (Russia), Theodor Tezhik (Russia-Czech), Efva Lilja (Sweden), Maida Withers (USA).
Since 2009 start active work in contemporary art and became an idea creator and curator of several contemporary art festivals and exhibitions. For several years run contemporary art centre in Moscow.
"In my artistic work I try to find different paths of collaboration with dancers, musicians, artists during the time of producing a common idea and material for a new work.
I understand the creative team as sum of individuals, but strongly related to some common energy. To find this important connection everybody has to be open and very attentive at the same time. If it became possible, every moment of common experience opens new unexpected ways of living and creation.
For me it is important to be able to work in a relaxed atmosphere leading to concentration and inspiration provided by the place of work. In my opinion, the image that can be applied to artists who move from one place to another is a bee collecting pollen and nectar of information and carrying it to another place, both pollinating new processes and transforming the nectar in honey of the new art"
Curator, producer: www.art-residence.ru
"Art-Ovrag" contemporary culture festival www.street-art-ovrag.ru
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BODYDRIVERS
Performance-lecture / Seminar / Master-class
Any, even the most modest help, will serve as an opportunity to work for art and for society
Any amount invested in art is a contribution to the evolution, so it will return to you in the form of new opportunities
Please donate!
Any amount invested in art is a contribution to the evolution, so it will return to you in the form of new opportunities
Please donate!
I express my deep gratitude and gratitude to all performers, artists, composers, musicians, designers, photographers, with whom I have ever worked together on the same stage, in one project or who gave inspiration to go further on the path of discovery and knowledge.
I thank all the producers, managers, technicians, who, through their labor and participation, helped the projects to be realized, regardless of the complexity of the tasks they face.
I thank everyone who carefully analyzed the projects they saw, wrote about them or in any other way covered our projects in the media, social networks and just in conversations.
I thank my friends and my audience for their attention and support, for their understanding and criticism. In this process, it is possible to find, discover and share what can serve as inspiration.
I thank everyone who supported us with financial and other material resources, without which no project could see the light and reach its audience.
I thank all the producers, managers, technicians, who, through their labor and participation, helped the projects to be realized, regardless of the complexity of the tasks they face.
I thank everyone who carefully analyzed the projects they saw, wrote about them or in any other way covered our projects in the media, social networks and just in conversations.
I thank my friends and my audience for their attention and support, for their understanding and criticism. In this process, it is possible to find, discover and share what can serve as inspiration.
I thank everyone who supported us with financial and other material resources, without which no project could see the light and reach its audience.
