About

MoM

Not following the music, but being the music.

Deepen music interpretation, increase quality in stage- / concert and

music-theatre performance. 

The progressing, practical approach is focusing on training the musicians / composers / performers in body and spatial awareness, in physical dialogue.

We start from discovering and understanding the body, our relation to it and its musicality in relation to space, working on neutrality as a basis, articulation in all aspects and interaction.
Musicality of Movement is an approach to understand the complexity and simplicity of stage performance. 
It includes all performing arts qualities as clear focus, rhythm, energy and intensity, sensitivity and sensuality as well.
The final result shows open, playful musicians, performers, who are able to surprise themselves and the spectator by a combination of preciseness and originality.

This particular pedagogical program is based on training the musicians / composers / performers in physical, spatial awareness, listening, physical dialogue and feedback through individual, partner and group exercises based on a given form or guided improvisation. 

In an advanced level using real time composition as a challenge of recognizing the special qualities of the given moment and be able to make instant decision without any doubt relying on developed skills and trust. 

 

Creating - coaching

MoM is a core element of new music-theatre. Tailor made training program to prepare musicians on the making process of music-theatre, where physicality as essential base for stage performing becomes crystallized.

 

The creating / making process is based on coaching method, where the guided progress of performing quality playes a major role.

It also allows the spesific qualities of the players to be chosen and sthrengthen as specific element / role in the composition / performance.

 

Taking the body as a main means of expression and the performer as a starting point for creation with the aim of “making the invisible visible” (Etienne Decroux).

In this particular situation where different disciplines intertwine, the MoM approach helps to find and create the balance between music playing and stage performing.

 

History

"musicalité de mouvement"

as it is well known from 'corporeal mime' by Etienne Decroux, is an important starting point and inspiration for MoM. 

 

Corporeal mime accentuates the vital importance of the body and action on stage in relation to space and applies to physical movement principles that are at the heart of stage performance / theatre such as pause, hesitation, weight, resistance and surprise.

 

"musicalité de mouvement"

is also the core issue of contemporary mime and movement theater as for example further explored during the 25 years laboratory work of the Moving Academy for Performing Arts (MAPA-Amsterdam) under the direction of Ide van Heiningen and further developed and designed as a special study program for musicians in the Conservatory of Amsterdam by Virág Dezső.

 

MoM is an official subject for music students in the Conservatorium van Amsterdam since the academic year 2015 and in the University of Debrecen / department Classical Music since 2017. In MAPA MoM became one of the core trainings besides 'modern mime', 'object animation' and 'the neutral mask'.   

New approach

The MoM approach as it is today is entirely developed and worked out by Virág Dezső. She is in constant research for the transformation and inclusion of divers elements from different training techniques, embraced by essential mime principles to come to a high level of physical understanding from a theatrical viewpoint and balance the relation between body and mind.

 

Her specific process enhanced by improvisation creates an honest ground for exploring musicality on a physical way 

through actions, movements in relation to breathing, energy, space, time, and sound. 

Musical terms are often used directly in the processes. 

She is frequently asked by musicicans to help improving their music interpretation, 

stage presence and physical performing quality. 

She coaches theatrical / music performance processes  and creates music-theatre productions besides her solo work. 

Examples:

Music-theatre piece for the youngest generation

Regie and performance coach: Virág Dezső and Ide van Heiningen    

for Alle Hoeke van de Kamermuziek 

Music-theatre piece for the youngest audience

Regie and performance coach: Virág Dezső and Ide van Heiningen for Wervelwind Ensemble  

Salon, living room solo project, where physical performance and music intertwines by Yung-Tuan Ku, percussionist. 

Gives an opportunity for another perspective. 

MoM / Musicality of Movement © 2020