Each student must find their own connections, on their own body, in their own way, at their own time. A dancer must own his or her own body.
I'm Susan Klein and director of the Susan Klein School of Movement and Dance where I have been teaching classes and developing my work, Klein TechniqueTM, since 1972. Over the last 40 years we have served as a resource for the dance community offering affordable, year round classes both in New York and giving workshops throughout the world. Students of ours have included Bonnie Bainbridge Cohen and many of her students, as well as choreographers and their company members such as Sasha Waltz, Trisha Brown, Stephen Petronio, Bebe Miller, Ralph Lemon, Phoebe Neville, Yvonne Rainer, Neil Greenberg, Roz Newman, Barbara Mahler, David Roussev, Jeremy Nelson, and members of the Finnish Ballet, the Twyla Tharp Dance Company, Lucinda Childs Dance Company, David Gordon Pick Up Company and Douglas Dunn and Dancers, as well as many independent choreographers and performers.
我是Susan Klein，是Susan Klein运动与舞蹈学院的院长，自1972年以来，我一直在那里教授课程并不断发展我的Klein Technique技术。在过去的40年里，我们一直为舞蹈社群提供资源，提供舞者能负担得起，全年开设的课程，不仅在纽约，也在世界各地举办工作坊。 我们的学生包括Bonnie Bainbridge Cohen和她的许多学生，以及编舞家和他们的舞团的成员，包括Sasha Waltz、Trisha Brown、Stephen Petronio、Bebe Miller、Ralph Lemon、Phoebe Neville、Yvonne Rainer、Neil Greenberg、Roz Newman , Barbara Mahler, David Roussev, Jeremy Nelson，以及芬兰芭蕾舞团、Twyla Tharp Dance Company、Lucinda Childs Dance Company、David Gordon Pick Up Company和Douglas Dunn and Dancers的成员，以及许多独立编舞家和表演者。
Klein Technique was developed as a result of my personal journey and serves as a way for people to work through individual injuries, to understand the workings of their own bodies, and to heal themselves. It is a technique of hope. It is a technique of vision, of wellness, of power, and of individuality. The aim of my work is to put people back into their bodies, for each person to get a body-felt understand of who they are, what their injury means, and how to access the innate intelligence of their body rather than to ignore it. For the healthy dancer it is a technique of discovery, of essence, of learning who they are as movers, and how their body functions as individuals. It's a way to learn to dance and move from an internal knowing rather than an external shaping. It's an opportunity to let go of all imposed limitations, and ideas of restrictions. It's a technique of choice, of options, of expansion. Klein Technique is a process. It is a process of learning and healing. It is a process of change.
Klein Technique是我个人经验的一个总结，人们可以通过它来疗愈个体的伤痛，了解自己身体的运作方式，并治愈自己。这是一种充满希望的技术。它是一种充满远景、健康、力量和个性的技术。我工作的目的是让人们重新回到他们的身体里，让每个人都能从身体上感受到他们是谁，他们的伤痛意味着什么，以及如何利用他们身体的先天智慧而不是忽视它。对于健康的舞者来说，这是一种发现、探寻本质的过程，了解他们作为运动发起者，以及他们的身体如何作为个体运作的技巧。这是一种从内而外的学习跳舞的方式，而非从外形出发。这是一个放弃所有外在施加给我们的限制，抛开限制我们思想的机会。这是一种选择和扩展的技术。 Klein Technique是一个过程。这是一个学习和康复的过程。这是一个变化的过程。
I began this work in response to a knee injury that I received in 1969 when I was 19. I began dancing when I was 5. I did German Modern Dance and Graham. They were pretty demanding and rough techniques, very physical techniques. The first time I hurt myself I went to an orthopedist. I got a shot of cortisone and was told not to dance again for 3 months. And that was really a very big hardship for me as a 19 year old, not to be able to move for 3 months. But I did it. Then I went back to dancing. When I went back to class it was as if I had never danced before. Everything hurt. It was like I was a beginner. I felt like I lost all my technique and all my ability. It was like starting again, and it was very emotionally difficult as well as physically difficult, very demoralizing to have to start again. I was in a position when I hurt myself of being on the edge of entering a professional modern dance company and then I felt like I had to start again. So I went back to class and built back up and lo and behold I hurt myself again. And finally a year or two later I had a skiing accident in Switzerland and that was the end. It was just a freak accident. Somebody ran into me, spun me around, I went down backwards, both my knees went in, and I heard a snap. Both knees did the exact same thing but only the left one got damaged. That was the one that I hurt originally. It swelled up and the swelling never went down. I went to the emergency room, right after it happened, got an x-ray, nothing was broken. But the swelling never went down for months and months and months. I just barely got around. Then I started seeing orthopedists in New York City and I was essentially diagnosed as having everything wrong with a knee that could be wrong. I was told I would never walk again without a limp. Several orthopedists wanted to operate, each with a different diagnosis and procedure. The last orthopedist I saw was the man who had developed the latest surgical techniques for knees. He was an old and cranky man who was frustrated and impatient with dancers. He had removed all four of Hanya Holmes cartilages and felt it was useless to treat dancers. Ultimately he knew he couldn't help me. He knew I would go back to dancing and to what I was doing and would injure myself again. He told me I should get married and have children and give up dancing. At the time I was incensed and devastated by him, but in retrospect I can see that his treatment and his words were pivotal in my development, and to this day I thank him. He understood that there is an underlying cause to a symptom, and that this is the level on which the healing must take place. I had a Bakers Cyst in the back of my knee, in addition to the damaged cartilage and ligaments. I begged him to remove the cyst. He was reluctant, saying that something was causing it, and if that wasn't corrected, the cyst would return. He understood that he couldn't help dancers by surgically treating their symptom. I don't think he understood that there was a way to treat the cause of the injury, a cause to be found in the movement pattern of dancers, and that movement patterns can be analyzed, understood and corrected and that healing can then take place on this crucial and fundamental level. All this understanding came to me years later. I have healed completely, have danced and skied fully and don't walk with a limp. I am very grateful to this man for his insistent and stubborn unwillingness to operate on me.
1969年，19岁的我经历了膝盖受伤，因为这个事故，我开始探讨我所做的这个工作。我5岁时开始跳舞，参加了德国现代舞和格雷厄姆的训练。他们是相当苛刻和艰苦的技术，非常物理的技术。第一次受伤时，我去看了骨科医生。我打了一针可的松，并被告知3个月内不要再跳舞。这对我19岁的我来说真的是一个非常大的打击， 3个月不能动。但我做到了。然后我又回去跳舞了。当我回到课堂时，我感到好像我以前从未跳舞过一样。浑身没有一个地方不在痛。我就好像回到了一个初学者，失去了所有的技术和所有的能力。一切重新开始，在情绪上和身体上都非常困难，不得不重新从头开始非常令人沮丧。我在自己准备好进入专业现代舞舞团之前受伤，让我不得不重新开始一切。所以我回到课堂，重新振作起来，你瞧，我又伤到了自己。在课程的最后一年，我在瑞士发生了滑雪事故，一切就这样结束了。这是一个奇怪的事故。有人撞到我身上，把我的身体翻转了过来，然后我向后倒下，我的双膝都陷进去了，我听到啪的一声。虽然两个膝盖一起，但只有左边的一个受伤了。那是我最初伤害到的那个膝盖。它肿胀起来，后来肿胀一直没有消退。我在事故发生后去了急诊室，拍了 X 光片，什么都没有异常。但肿胀好几个月都没有消退。然后我开始在纽约市看骨科医生，所有膝盖上可能出现的问题，我基本上都被诊断过。有人告诉我，我将永远无法正常走路了。几位骨科医生想要手术，每个人都有不同的诊断和程序。我见到的最后一位骨科医生是开发出最新的膝关节手术技术的人。他是一个脾气暴躁的老人，对舞者感到沮丧和不耐烦。他已经切除了所有四个Hanya Holmes软骨，觉得尝试治疗舞者没太大意义。最终他知道他无法帮助我。他知道我会回到跳舞和我正在做的事情上，并且会再次受伤。他告诉我我应该结婚生子，放弃跳舞。当时我被他的说法激怒和摧毁，但回想起来我可以看到他的诊断和他的话语对我的发展至关重要，直到今天我感谢他。他明白一个症状有一个潜在的原因，这是必须进行治疗的水平。除了受损的软骨和韧带外，我的膝盖后部还有一个贝克囊肿。我求他切除囊肿。他很不情愿，说我需要了解这是什么原因造成的，如果不对此进行纠正，囊肿会复发。他明白他的初衷，无法通过手术治疗舞者的症状来帮助他们，但他不了解有一种方法可以去治疗受伤的原因，可以在舞者的动作模式中找到这个原因，并且可以分析、理解和纠正动作模式，然后才能在这个关键和基本的层面上进行治疗。多年后，我才明白了这一切。我已经完全康复了，我已经完全恢复跳舞和滑雪了，走路也不会跛行。我非常感谢这个人，因为他坚持和固执地不愿对我进行手术。
During this entire time I was teaching, and I started having to teach differently. I couldn't really move, so I had to use my eyes and I had to use my voice. I had to talk to my students about what I thought was wrong. I had to be able to see. I couldn't use my hands as much as I was used to and I couldn't demonstrate. This led to my first really big revelation. Why should I demonstrate? Am I perfect? No. Do I want everybody coming out with movement like mine? No. Is my body the same as everybody else? No. So maybe this whole tradition in the dance world of demonstrating to teach dancing isn't such a great idea. This led me to the idea of student self- discovery. Each student must find their own connections, on their own body, in their own way, at their own time. A dancer must own his or her own body. Class is designed to place people in an environment of thoughtful, slow exploration of possibility and potential. Analyzing and integrating the body at its deep functional core over and over again. Understanding how the body works and then learning to apply it to dancing. Class is about each person's discovery of new material, of deep connection, about each person working with the issues of their own body. Class is about respect for the dancer as a human being, which is also not in the tradition of dance training. That was the beginning of a lot of change in my thinking.
在这整个过程中，我一直在教书，我开始不得不以不同的方式教书。我真的不能动，所以我必须用我的眼睛，我必须用我的声音。我不得不和我的学生谈谈我认为错误的地方。我必须能够看到。我不能像以前那样用双手，也不能演示。这导致了我的第一个真正的重大思考。我为什么要演示？我完美吗？不。我希望每个人都像我一样运动吗？不，我的身体和其他人一样吗？不，所以也许舞蹈界的整个传统示范教舞蹈的方式并不是一个好主意。这让我想到了让学生自我发现进行学习的想法。每个学生都必须在自己的身体上，以自己的方式，以自己的时间节奏找到自己与身体的联系。舞者必须拥有自己的身体。课堂旨在将人们置于一个可以进行思考、对可能性和潜力能进行缓慢探索的环境中。一遍又一遍地分析和整合身体的深层功能核心，了解身体的工作原理，然后学习将其应用到舞蹈中。课程是关于每个人对新材料的发现，关于深度联系，关于每个人处理自己身体问题的过程。课堂是关于尊重舞者作为个体的，这并非舞蹈训练的传统。那是我思想发生很大变化的开始。
The second major thing that started to occur to me was that in this injury, caused by a symmetrical skiing accident, only one knee got hurt, my "bad" knee. It began to occur to me that this might not have been an accident. That actually I might have caused it. This was a tremendous idea to me. A very powerful and exciting thought, that I did it, that I did this to myself. And if I did this to myself I could undo it. I could change. I began to realize that it was a result of who I was, what was going on with me in total, not just in my body, not just as a dancer. And this was very important.
我开始想到的第二件事是，在这次由滑雪事故引起的受伤中，虽然两个膝盖做了同样的事情，但只有一个膝盖受伤，我的“坏”膝盖。 我开始意识到这可能不是一个意外。这实际上可能是我造成的。这对我来说是一个了不起的想法。 一个非常强大和令人兴奋的想法，受伤是我所做的，我对自己做了这个受伤。如果我对自己这样做，我也可以撤消它。我可以改变。我开始意识到这是我是谁这个问题的结果，我的整体情况产生的结果，而不仅仅是在我的身体里，不仅仅是作为一个舞者。这一点非常重要。
Oh. I need to back track just for a second. My original injury took place on a tennis court, not in dance class. I had been going to dance class, two classes a day, all summer. I was only 19. I was playing tennis this particular afternoon and I walked to the net to pick up a ball, and as I walked back I started to limp. By the time I got home that night my knee was swollen. So this was another piece of the puzzle. This was something I looked back at years later to realize, based on this idea that this was not an accident, that this was something I had done to myself over time. The basic concept here is stress builds up over time. There's not always an accident that causes an injury. I was very lucky that I had this experience because it allowed me to eventually understand that my movement patterns, established over a long period of time, caused the injury rather than any one specific incident or accident. When you have an accident it's very easy to believe that all you had was an accident. That you actually had nothing to do with it. But in reality, if we all had an accident, even if we had the same accident, it would be different. So if this whole front row got hit by a car, the same way, and you got thrown up in the air, because of who you are - you're body, mind, spirit, structure, what's on your mind that day, if you got into a fight with somebody - because of all that, you would fall differently. And you would get your own injury. You would have your own unique injury. An injury that's yours. The injury would seat itself in your area of weakness in your area of vulnerability. And that's what's important to understand. So yes, you can have an accident and we all have accidents and we all will get hurt, dancing or not. But the issue is, what is the injury and what does it mean to you and how can you take care and learn from it.
哦。我需要往回走一些。我最初的受伤发生在网球场上，而不是在舞蹈课上。我一直在上舞蹈课，一天两节课，整个夏天。我那是只有19岁。这个特别的下午我正在打网球，我走到网前捡球，当我往回走时，我开始跛行。那天晚上我回到家时，我的膝盖已经肿了。所以这是另一个难题。这是我多年后回顾的事情，基于这个想法，这不是偶然的，这是我随着时间的推移，一段时间内对自己所做的事情。这里的基本概念是压力会随着时间的推移而增加。受伤并不总是因为某一事故而造成的。我很幸运有这样的经历，因为它让我最终明白，我长期建立的运动模式是造成伤害的原因，而不是任何特定事件或事故。当你发生事故时，很容易相信你所得到的后果的只是源于一场事故。但事实上，你与它并无太大关联。但在现实中，即使我们都同时发生同样的事故，结果发生的情况也会因为人的不同而不尽相同。所以如果整个前排都被车撞了，所有人中只有你被抛到空中，这源于你是谁——你的身体、思想、精神、结构，那天你在想什么，如果你与某人打架，你会以不同的方式跌倒。你会受到自己的伤害。你会有自己独特的受伤。这是你的受伤。伤害会在你的脆弱区域中出现。这是重要的理解。所以，是的，你可能会发生意外，我们都会发生意外，我们都会受伤，无论是否跳舞。但问题是，伤害是什么，它对你意味着什么，你如何照顾它并从中学习。
I'm also an Acupuncturist, a Zero Balancer, and I have a private practice as a movement therapist. One of my acupuncture teachers whose name is Dianne Connelly always talks about an injury as being a "call home". An injury is a way your body-mind-spirit says to you something is wrong, you need to listen, you need to try and figure out what happened, what's wrong. And it's an opportunity. In the Chinese language crisis has two meanings, one is the crisis and the other side is the opportunity. An injury actually comes as a call to yourself. It is a way of turning a disadvantage into an advantage, a way to really learn something, to become better, and to improve from it.
我也是一名针灸师，一名Zero Balance治疗师，我是一个私人诊所中的运动治疗师。 我的一位针灸老师黛安·康纳利（Dianne Connelly）总是将受伤称为“回家”。 受伤是你的身心对你说有问题的一种方式，你需要倾听，你需要尝试弄清楚发生了什么，出了什么问题。 这是一个机会。 在汉语中危机有两种含义，一种是危机，另一种是机遇。 受伤实际上是对自己的召唤。 这是一种将劣势转化为优势的方法，一种真正学习、变得更好并从中改进的方法。
Now if you just take a very structural point of view and just say, "I was dancing too much and I sprained my ankle, so I'm going to go home. I'm going to soak it. I'm going to wrap it. I'm going to ice it. I'm going to elevate it and I'm going to rest. And it'll get better. And it probably will, but you're loosing the opportunity part. You're just getting the crisis part. The opportunity is to look into it to see what happened and how you can truly make it heal. It is your opportunity to really take the time to analyze and understand what caused the injury so you can diminish the chances of it happening again. This is the time within our injuries that we become hypersensitive. We're hurt and we become very, very sensitive. It hurts. Everything hurts. And within that you have the opportunity to fine-tune yourself and to figure out how to use your body more correctly. Because in that place of pain, your body is very critical. It will only allow you to move in a precise range that is correct, a range that doesn't allow for torqueing or twisting. As you get better, however, you become more tolerant of doing things wrong. But in that place of pain, you can find more of what is correct, as a way out of the pain, instead of forgetting about it and waiting until it goes away. It is true people often compensate around the pain, but it is possible to use the pain and work with it to improve functioning.
现在，如果你只是从一个非常结构性的角度说，“我跳得太多了，扭伤了脚踝，所以我要回家。我要浸泡。我要包裹它。我要冰敷。我要抬高它，我要休息。它会变好。它可能会变好，但你正在失去机会的部分。你只是抓住了危机的那部分。机会来自于对其的探索和审视，看看发生了什么，以及如何才能真正治愈它。这是你真正花时间分析和了解造成伤害的原因的机会，这样你就可以减少它再次发生的几率。受伤让我们变得敏感。我们受伤了，我们变得非常、非常敏感。很疼。一切都在痛。在此期间，你有机会微调自己，并弄清楚如何更正确地使用你的身体。因为在那个疼痛的地方，你的身体非常有批判性。它只会让你在一个准确的范围内移动，并不允许太多扭转或扭曲。然而，随着你身体变得更好，你也会变得更能容忍做错事。但在那个痛苦的地方，你可以找到更多正确的东西，作为摆脱痛苦的方法，而不是忘记它，等到它消失。确实，人们经常会在疼痛周围进行补偿，但可以利用疼痛并与之协作来改善功能。
My work is specifically aimed at getting people back into their bodies so that they can move in space. My interest is dancers, my interest is moving. I'm interested in bringing a bodywork perspective, an intelligence and understanding of the body, a perspective of individuality, into a highly functioning moving body. It is not enough to undergo therapy for an injury if awareness of how that injury relates to past and present function is not obtained and applied. Constant analysis, breaking movement down into its very essential and basic component parts, and re-integration into organized movement patterns must occur and re-occur in a constant cyclical process of learning and healing. Eventually and ultimately the dancer must function as a connected whole human being in movement and expressivity. Re-patterning and instinct must once again emerge as one.
我的工作特别旨在让人们回到自己的身体中，以便他们可以在空间中移动。我的兴趣在于和舞者工作，我的兴趣是运动。我有兴趣将身体工作的视角、对身体的智慧和理解、个性视角带入一个功能强大的运动中的身体。 如果没有获得和应用对损伤与过去和现在功能的关系的认识，那么接受损伤治疗是不够的。不断的分析，将运动分解为其非常重要和基本的组成部分，并重新整合到有组织的运动模式中，必须在不断循环的学习和康复过程中发生并再次发生。 最终，舞者必须在动作和表现力上作为一个相互联系的整体人发挥作用。 重新塑造和本能必须再次合二为一。
A dancer is a whole human being who must be looked at as a complex of body, mind, and spirit. Each one of these levels can be broken down into a body, mind, and spirit as well. So you have body, mind, spirit, on the level of the body; you have body, mind, spirit on the level of the mind; and you have body, mind, spirit on the level of the spirit. If we look at this in terms of illness, illness can take place on any of these nine levels. Teaching can also take place on any of these nine levels. Let me make it clear that when I am talking about spirit I am not talking about religious or metaphysical matters. I am talking about deep and crucial qualities of a person such as consciousness, ideation, inspiration, will power, and hope. Dance, of course, focuses on the body level. Psychotherapy focuses on the mind level. Meditation, that type of work, is on the spirit level. Now in terms of dance it is important to realize that there is a body, mind and spirit on the level of the body. What people in dance get too hooked into is just the body. It becomes all body. The body level of the body. They don't realize or forget that there is a mind and a spirit connected to it. The educational aspect of my work is aimed at the mind level of the body. The dancing /performing that results is on the spirit level of the body. Right now I'm talking to your minds, but I would actually like to talk to your body, to the mind level of your body when I begin talking about movement concepts. The understanding eventually must be in your bodies. If the understanding just stays in your head then it's just intellectual ideas, and as far as I'm concerned it's not useful. It's useful but it's intellectual. It's not useful to dancers. The only way it becomes useful is if it gets into the body. Many somatic modalities teach so much intellectual information that never seems to integrate into the body, it stays in the student's mind. When I see dancers moving, that have studied this or that, I often don't really see a change on the body level. They can talk about it, there is an understanding, but there is no real change in their movement. It's important for information to get into the body. For information to be on a body felt level. This is what's important. There is a real difference between information being in the mind and information being in the body. In class we are trying to work with, to communicate to the mind of the body. It's important in adults to elicit the mind level of the body to create change. We have to, to quote Mabel Elsworth Todd, become a "thinking body". Our ultimate aim, however, is to go deeper so the expression of an individual dancers will eventually come from the spirit of the body. Movement that comes from who you are, from your our own will, from your own creativity, from your own consciousness, from your own inspiration, from your own ideas. That's the idea of moving from your spirit. You’re moving from a place of internal knowing not of an external shape. Not just from the body, but from your entire experience as a human being. I don't think that moving from the mechanics of the body is art. And I don't think healing solely from the mechanics of the body is possible.
舞者是一个完整的人，必须被视为身体、思想和精神的综合体。这些层次中的每一个都可以分解为身体、思想和精神。因此，在身体的层面上，你有身体、思想、精神；你在思想的层面上拥有身体、思想、精神；在精神的层面上，你有身体、思想、精神。如果我们从疾病的角度来看，疾病可以发生在这九个层次中的任何一个层次上。教学也可以在这九个层次中的任何一个层次上进行。让我明确一点，当我谈论精神时，我不是在谈论宗教或形而上学的问题。我说的是一个人深刻而重要的品质，例如意识、想法、灵感、意志力和希望。当然，舞蹈侧重于身体层面。心理治疗侧重于心理层面。冥想，这种类型的工作，是在精神层面上的。现在就舞蹈而言，重要的是要认识到在身体的层面上存在身体、思想和精神。跳舞的人迷恋的只是身体。变成全身。身体的身体水平。他们没有意识到或忘记有一个思想和精神与之相连。我工作的教育方面是针对身体的思想水平。产生的舞蹈/表演是在身体的精神层面上的。现在我在谈论你的思想，但当我开始谈论运动概念时，我实际上想谈谈你的身体，你身体的思想层面。理解最终必须在你的身体里。如果理解只是停留在您的脑海中，那么这只是智力上的想法，就我而言，它没有用处。它很有用，但很理智。这对舞者没有用。它变得有用的唯一方法是它进入身体。许多躯体模式教授了如此多的智力信息，这些信息似乎永远不会融入身体，而是留在学生的脑海中。当我看到舞者在移动，研究过这个或那个时，我通常并没有真正看到身体层面的变化。他们可以谈论它，有一种理解，但他们的运动并没有真正的变化。信息进入体内很重要。使信息处于身体感觉水平。这是重要的。存在于头脑中的信息与存在于身体中的信息之间存在真正的区别。在课堂上，我们试图与之合作，与身体的思想交流。在成年人中，激发身体的思想水平以创造变化是很重要的。用Mabel Elsworth Todd的话来说，我们必须成为一个“思考者”。然而，我们的最终目标是更深入，使个别舞者的表达最终来自身体的精神。运动来自你是谁，来自你自己的意志，来自你自己的创造力，来自你自己的意识，来自你自己的灵感，来自你自己的想法。这就是从你的精神出发的想法。你正在从一个不知道外部形状的内部空间移动。不仅来自身体，还来自你作为一个人的整个经历。我不认为从身体的力学中移动是艺术。而且我认为仅仅从身体的力学中治愈是不可能的。
I want to tell you a story. This is a Nietzsche story about the 3 levels of the transformation of the spirit. And the story goes like this: When you are a young person you are a camel. The camel gets down on his knees and says "Put a load on me." Now this load is obedience, receiving instruction and information society knows you must have in order to live a competent life. When the camel is well loaded, she struggles to stand to her feet and runs out into the desert where she becomes transformed into a lion. Now the heavier the load, the more powerful the lion. The function of the lion is to kill a dragon, and the name of that dragon is Thou Shalt. Now on every scale of this dragon is imprinted thou shalt, and those thou shalts are the thou shalts from 2,000 years ago, they're from yesterday's newspapers, they're from your parents and your teachers, they're from everything that society has given to you. When the dragon is killed, the lion is transformed into a child. An innocent child living out of all her dynamics. Like a wheel rolling from its center. And that is the place where you finally begin to become yourself; you finally begin your life.
我想给你讲个故事。 这是一个关于精神转变的三个层次的尼采故事。 故事是这样的：当你年轻的时候，你就是一头骆驼。 骆驼跪下说：“给我负重。” 现在这个负担是服从，接受指导，信息社会知道你必须拥有才能过上称职的生活。 骆驼装好东西后，她挣扎着站起来，跑进了沙漠，在那里她变成了一头狮子。 现在负重越重，狮子越厉害。 狮子的作用是杀死一条龙，那条龙的名字是你应该。 现在这条龙的每一片鳞片上都印着你要，那些你要是2000年前的你要，它们来自昨天的报纸，它们来自你的父母和你的老师，它们来自社会拥有的一切 给你。 当龙被杀死时，狮子变成了一个孩子。 一个天真无邪的孩子生活在她所有的活力之中。 就像一个从中心滚动的轮子。 那就是你最终开始成为你自己的地方； 你终于开始了你的生活。
The thou shalts are the civilizing force. They turn the human animal into a civilized human being. But then one needs to throw off the thou shalts. You're still civilized but now you are your own person and you have the innocence of a child. I think my work is about killing the dragon, killing all the thou shalts so you can finally find the uniqueness of who you are as a person and learn to move from that place. Now you still have your technique. You still have all your training but the point is to be able to use it for yourself. To be able to use it in a way that becomes instructive for you. That becomes something that's useful to you, that means something to you, so that you can communicate as a dancer and that you're not taking on an external form - an external form from your culture, an external form from you company, an external form from your choreographer, an external form from your teacher. There is a way that you can do that movement from your own individuality. And I believe that when you do that, it is healthy movement and that the chances of getting injured are much, much less.
你应该是文明的力量。他们把人类动物变成了文明的人。但是随后需要摆脱“你应该”。你还是文明的，但现在你是你自己的人，你有孩子的天真。 我认为我的工作是关于杀死巨龙，杀死所有你应该做的事情，这样你才能最终找到你作为一个人的独特之处，并学会从那个地方搬走。 现在你还有你的技术。 你仍然有所有的训练，但关键是能够为自己使用它。 能够以对您有启发性的方式使用它。 它变成对你有用的东西，对你有意义，这样你就可以作为舞者进行交流，而不是采用外部形式——来自你的文化的外部形式，来自你公司的外部形式，外部形式 来自编舞者的形式，来自老师的外在形式。 有一种方法可以让你根据自己的个性来做那个动作。 而且我相信，当您这样做时，这是一种健康的运动，而且受伤的机会要少得多。
The next major concept I want to talk to you about is the concept of energy and that the body is not just structure and matter but that is also energy. There is an energy-matter continuum. Energy I'm going to equivocate to movement and matter to structure. Energy warms, supports, and moves. Energy related to our potential, to our future, to where we are going. Energy is our life force. Matter is our form, our structure. It relates to the present. There are different forms of healing and different forms of dance techniques that really favor one side or the other of this continuum. On the energy side there are techniques like tai chi, aikido, some types of karate, post modern dance forms such as Contact Improvisation. Acupuncture is a healing modality that deals primarily with energy. On the matter side is much of ballet, which is a very formalized, structured, and positioned. There are many modern dance techniques that have slipped over to this held, formalized posturing. As far as exercise is concerned calisthenics, and weight lifting, things that are very physical with the body, deal mostly with matter and structure. From what I saw here yesterday, Pilates seems to deal mostly with structure. Physical therapy and orthopedics are concerned with this structural side of the continuum
下一个我想和你们谈的主要概念是能量的概念，身体不仅仅是结构和物质，它也是能量。 有一个能量-物质连续体。 能量我将模棱两可地表示为运动，物质表示为结构。 能量温暖、支持和移动。 能量与我们的潜力、我们的未来、我们要去的地方有关。 能量是我们的生命力。 物质是我们的形式，我们的结构。 它与现在有关。 有不同形式的治疗和不同形式的舞蹈技巧确实有利于这个连续体的一侧或另一侧。 在能量方面，有太极拳、合气道、某些类型的空手道、即兴接触等后现代舞蹈形式的技巧。 针灸是一种主要治疗能量的治疗方式。 在物质方面有很多芭蕾舞，这是一种非常形式化、结构化和定位的舞蹈。 有许多现代舞技巧已经融入了这种固定的、正式的姿势。 就运动而言，与健美操和举重有关，这些与身体有关的事情主要涉及物质和结构。 从我昨天在这里看到的情况来看，普拉提似乎主要处理结构问题。 物理治疗和骨科关注连续体的这一结构方面
A far as my work goes, I like to look at it as being in the middle of the continuum, on the interface between energy and structure, where they are equal. As in other therapies and body awareness techniques, we spend so much time on structure and proper body mechanics, but in my work it is always within the context of function, within the context of movement. My aim is movement. Movement is the key. Dancing. We are interested in dancing, and we are interested in highly functioning, structurally correct dancing. We are working on the interface of movement and structure considering them both with equal importance. We are interested in movement within the structure, structure within the movement. I think the work of Sasha Waltz and Guests are working on this interface of energy and structure
就我的工作而言，我喜欢将其视为处于连续体的中间，处于能量和结构之间的界面上，它们是相等的。 与其他疗法和身体意识技术一样，我们在结构和适当的身体力学上花费了很多时间，但在我的工作中，它总是在功能的背景下，在运动的背景下。 我的目标是运动。 运动是关键。 跳舞。 我们对舞蹈感兴趣，我们对功能强大、结构正确的舞蹈感兴趣。 我们正在研究运动和结构的界面，考虑到它们同等重要。 我们感兴趣的是结构中的运动，运动中的结构。 我认为 Sasha Waltz 和 Guests 的作品正在研究这种能量和结构的界面
This exciting way of dancing will allow for expression, individuality, communication and health. Movement. Energy. Dance. Beauty. Individuality. I think what most often happens in dance education is that things are externalized when taught by imitation. When people think there is a right and a wrong, from an external source, a sense of the individual gets lost. Movement gets lost. What happens is positioning occurs. A form becomes paramount, placement becomes paramount rather than movement. What we need to allow for and teach is the interrelationship between movement and structure, to find a way to keep movement and structure both happening together all the time. It is true that there is an optimal placement of the bones but it has to be found through movement, by getting to our deepest muscles of postural support, not by holding and placing our external form.
这种令人兴奋的舞蹈方式将允许表达、个性、交流和健康。 移动。 活力。 舞蹈。 美丽。 个性。 我认为在舞蹈教育中最常发生的事情是，当通过模仿教授时，事物会被外化。 当人们从外部来源认为有对有错时，个人意识就会消失。 运动迷路了。 发生的是定位。 形式变得最重要，位置变得最重要而不是运动。 我们需要承认和教导的是运动和结构之间的相互关系，找到一种方法让运动和结构始终同时发生。 确实存在骨骼的最佳位置，但必须通过运动找到，通过到达我们最深的姿势支撑肌肉，而不是通过保持和放置我们的外部形式。
Towards this end my work is on the level of the bone. I do not believe in building muscle strength. I don't believe there is a dancer in the world who's weak. If there is weakness I believe it's a problem of coordination, not a problem of individual muscle strength. I don't believe it is a question of strengthening one muscle, or muscle group against another. I believe that weakness comes from a deeper, more fundamental level, the level of the bone, the skeletal level. If the bones are not connected well, the muscles will be unable to coordinate properly and function optimally. It's my view that once the bones are in the proper place, the muscles will begin to work properly. Muscles are meant to work, their function is to contract and release. If you leave them alone, they will do it and they will becomes balanced. Actually, it seems the conscious work that needs to be done is on releasing the muscles, not strengthening them. They contract very easily and well on their own. Muscle is very easy to build up. Unless there is some organic problem this should be the case. This is a crucial concept in my work.
为此，我的工作是在骨骼层面上。 我不相信增强肌肉力量。 我不相信世界上有软弱的舞者。 如果有软弱的问题，我认为这是协调性的问题，而不是个人肌肉力量的问题。 我不认为这是加强一块肌肉或肌肉群对抗另一块肌肉的问题。 我相信软弱来自更深、更基本的层面，骨骼层面。 如果骨骼没有很好地连接，肌肉将无法正确协调并发挥最佳功能。 我的观点是，一旦骨骼处于适当的位置，肌肉就会开始正常工作。 肌肉是用来工作的，它们的功能是收缩和释放。 如果你让肌肉不受干扰地存在，肌肉自然就会这样做，肌肉会变得平衡。 实际上，我们需要用意识去做的工作是如何放松肌肉，而不是加强肌肉。 肌肉自身可以很容易和很好地协同工作。 肌肉很容易增长。 除非有一些有机问题，否则应该是这种情况。 这是我工作中的一个重要概念。
This concept of coordination versus muscle strength was introduced to me personally by Irmgard Bartenieff in 1974 when I was taking a workshop with her. Irmgard was old at the time, in her 70's or 80's. She was slight, she was tall, she had a small frame, just the opposite from my build. She was talking about this concept of strength versus coordination and said that she had just gone to a conference with orthopedists and demonstrated it to them by easily pushing a large male doctor into the wall. I'm sitting there, listening to her incredulously, I think visibly rolling my eyes. I'm sure she saw me and said, "You, come here." So there I was, I'm 24, I have a strong mesomorphic build, my knee was getting better. I was looking at this old lady thinking, "Oh my God, I hope I don't hurt her." So she says, "Push me." And I'm thinking, "I'll kill her." Then she says "O.K., now resist me." And then I just went flying, she pushed me at least 20 or 30 feet down the studio floor into the wall. I remember blinking my eyes and going "Oh." And that was pivotal, that was it. My thinking was changed. Nothing in my model of thought could explain what had happened to me. The impossible had happened. She was 3 times my age, tall, thin, with very little apparent muscle. I was young, strong, and muscular. There indeed had to be more to strength than built up muscles. Over the years, and with a lot of work, it became clear it was total body use, coordination, connection of body parts into a whole, not strength of body parts that yields strength and ability. Strength is coordination and coordination is equal to total body use. You can't analyze the parts alone. You have to consider the whole. You have to work with the whole in movement and in healing. Working muscles in isolation doesn't work, it doesn't impact on function. The body must be considered as a whole, both in relationship to its environment, to the floor, and within itself. Strength comes from the muscles being accessible, from the body's ability to access them for movement. This is why you have to go underneath, below the level of the muscle, to create change. Irmgard's work was a tremendous springboard for me and she is another person to whom I will always be eternally grateful.
1974 年，Irmgard Bartenieff 亲自向我介绍了协调与肌肉力量的概念，当时我和她一起参加了一个研讨会。 Irmgard 当时已经70 多岁或80 多岁了。 她身材瘦小，身材高大，身材矮小，与我的身材正好相反。 她谈到了力量与协调的概念，并说她刚刚参加了一个与骨科医生的会议，并通过轻松地将一个大块头男医生推到墙上向他们展示了这一点。 我坐在那里，难以置信地听她说话，我想明显地转动着我的眼睛。 我敢肯定她看到我说，“你，过来。” 所以我在那里，我 24 岁，我有一个强壮的中胚层体格，我的膝盖越来越好。 我看着这位老太太，心想：“天哪，我希望我没有伤害到她。” 所以她说，“推我。” 我在想，“我会杀了她。” 然后她说“好吧，现在抵抗我。” 然后我飞了起来，她把我推到工作室地板下至少 20 或 30 英尺的地方，撞到墙上。 我记得我眨着眼睛“哦”了一声。 这是关键，就是这样。 我的想法改变了。 我的思维模式中没有任何东西可以解释发生在我身上的事情。 不可能的事情发生了。 她的年龄是我的 3 倍，又高又瘦，几乎没有明显的肌肉。 我年轻、强壮、肌肉发达。 确实必须有比建立肌肉更多的力量。 多年来，通过大量的工作，很明显是全身使用、协调、将身体部位连接成一个整体，而不是身体部位的力量产生力量和能力。 力量就是协调，协调就等于全身的运用。 你不能单独分析零件。 你要考虑整体。 你必须在运动和治疗中与整体一起工作。 孤立地锻炼肌肉是行不通的，它不会影响功能。 身体必须被视为一个整体，包括与环境、地板以及自身的关系。 力量来自可触及的肌肉，来自身体接触它们进行运动的能力。 这就是为什么你必须深入到肌肉水平以下才能创造变化。 Irmgard 的工作对我来说是一个巨大的跳板，她是另一个我将永远感激的人。
My work is on the level of the bone. The bone is our densest, deepest tissue. We have soft tissue that is muscle, tendon, and ligaments and then we have the bone. The bone is underneath it all. The bone is our essential structure and it conducts the most energy. In my work we are really not working on the muscles at all. What we're doing with the muscles is trying to learn how to release them and get them out of the way. I look at the muscles, metaphorically, as 'tight pants'. Really tight pants, like jeans, that prevent us from moving so that if we go to lift our leg we can't get very far. We can't move. That's how I basically look at the muscles. I look at them as the casing that holds us in place. Most of us are not connected and our bones are not in the right place, they are not aligned properly. In that case our muscles actually serve to hold us in a place of dysfunction. There are some people that are naturally in perfect function, in perfect alignment, in perfect connection and they are the geniuses. There are brilliant dancers that are in perfect function. So they can do anything. They can build up their muscles because everything is working perfectly. For them, adding the muscle on top of their perfect connections just adds more power. But for most of us, who are not perfect, whose alignment is not perfect, our muscles are holding us in a place of disconnection, in an external shape imposed by the standards of our chosen aesthetics or technique, rather than giving us strength, support, options and flexibility in movement. Building muscles up for us further locks us in and holds us back. This is why dancers often reach a limit as to how well they can dance. There often comes a time in a dancer's life when he or she stops improving, or even starts to get worse, extensions start to get lower. This is because movement patterns get locked in by the rigid muscular demands made on the body. There is actually no avenue open for improvement. As the muscles get stronger and tighter, movement actually get inhibited and denied. Externalized limits get imposed and often become internalized. Letting go of the muscles start to expand our physical definition of our bodies’ capabilities. We have the opportunity to expand beyond all the imposed limitations and step into expansion beyond our 'known' limitations. Knowing keeps us tied to our limitations, allowing the muscles to let go, allows us to venture into the unknown and into the growing edge of our potential. It allows us to access the area of internal knowing, working from the deep tissues of the body, working from the bone and the deep muscles of postural support.
我的工作是在骨头的水平上。 骨骼是我们最致密、最深的组织。 我们有软组织，即肌肉、肌腱和韧带，然后我们有骨骼。 骨头在这一切之下。 骨骼是我们的基本结构，它传导的能量最多。 在我的工作中，我们真的根本没有锻炼肌肉。 我们对肌肉所做的是试图学习如何释放它们并让它们远离。 我将肌肉比喻为“紧身裤”。 非常紧身的裤子，比如牛仔裤，它会阻止我们移动，所以如果我们抬起腿，我们就不能走得很远。 我们不能动。 这就是我基本上看肌肉的方式。 我将它们视为将我们固定到位的外壳。 我们大多数人都没有连接，我们的骨头没有在正确的位置，它们没有正确对齐。 在那种情况下，我们的肌肉实际上可以使我们处于功能障碍的位置。 有些人天生就具有完美的功能、完美的排列、完美的联系，他们就是天才。 有才华横溢的舞者，功能完美。 所以他们可以做任何事情。 他们可以锻炼肌肉，因为一切都运转良好。 对他们来说，在他们完美的联系之上增加肌肉只会增加更多的力量。 但对于我们中的大多数人来说，他们并不完美，他们的排列也不完美，我们的肌肉将我们固定在一个断开的地方，处于我们选择的美学或技术标准强加的外部形状中，而不是给我们力量，支持 ，运动的选择和灵活性。 为我们锻炼肌肉进一步锁定我们并阻止我们。 这就是为什么舞者的舞蹈水平经常达到极限的原因。 舞者的生活中经常会有一段时间，他或她停止进步，甚至开始变得更糟，伸展度开始变低。 这是因为运动模式被身体上僵硬的肌肉需求所锁定。 实际上没有改进的途径。 随着肌肉变得越来越强壮，运动实际上受到抑制和拒绝。 外部化的限制被强加并经常被内部化。 放开肌肉开始扩展我们对身体能力的物理定义。 我们有机会超越所有强加的限制，并逐步超越我们“已知”的限制。 知道让我们束缚于我们的局限性，让肌肉放松，让我们冒险进入未知世界并进入我们潜力的增长边缘。 它使我们能够进入内部知识领域，从身体的深层组织、骨骼和姿势支撑的深层肌肉开始工作。
The bone is the only tissue that doesn't yield to gravity. It stands on its own. When we lie down and relax, our flesh will drop, but the bone doesn't, the bone will stay. The bone has its own strength. In a sense the bones are simple, and in their simplicity they hold a map to our essential selves, our underlying and most stable structure. The skeleton serves as a simple visual image the mind of the body is capable of working with. My work is aimed at working with the bones to connect the body and create clear, simple, and direct lines of movement and energetic force. The areas of the body most vulnerable to movement and stress are the joints. These are the areas of greatest energetic and structural turmoil and disconnection. We work with great care to analyze and understand the movement process across each joint and to correct the torqueing and twisting or other impediment to proper use and energy transmission. The bone is capable of change when the force through it changes. According to Wolfe's Law both the internal and external architecture of the bone can and will change when the forces through it change. As movement patterns change, the force through the bone will change allowing real and concrete structural change to occur. In order for this to happen the external musculature must be released, the old holding patterns on the bone must let go. Toward this end we do a great deal of deep long stretches. We stretch to add openness and movement potential to the joints, to add choice. This work is not done to stretch and lengthen alone. While stretching there is a dual consciousness: one on stretching and letting go, the other on connecting and sending clear, strong, structural and energetic lines through the body. This is crucial, and neither would work alone, for we wouldn't be getting to the depth needed for real change. We have to release old patterns and replace them with new ones at the same time with personal consciousness and awareness for real change to occur.
骨头是唯一不会屈服于重力的组织。 它独立存在。 当我们躺下来放松时，我们的肉会掉下来，但骨头不会，骨头会留下来。 骨头有它自己的力量。 从某种意义上说，骨头很简单，在它们的简单中，它们为我们的本质自我、我们潜在的和最稳定的结构绘制了一张地图。 骨骼作为一个简单的视觉图像，身体的头脑能够与之合作。 我的工作旨在与骨骼一起工作以连接身体并创造清晰、简单和直接的运动线条和充满活力的力量。 身体最容易受到运动和压力影响的部位是关节。 这些是最大的能量和结构动荡和脱节的领域。 我们非常仔细地分析和理解每个关节的运动过程，并纠正扭矩和扭曲或其他妨碍正确使用和能量传输的障碍。 当通过骨骼的力发生变化时，骨骼能够发生变化。 根据沃尔夫定律，当通过骨骼的力发生变化时，骨骼的内部和外部结构都会发生变化。 随着运动模式的变化，通过骨骼的力也会发生变化，从而发生真实而具体的结构变化。 为了做到这一点，外部肌肉组织必须得到释放，骨骼上旧的握持模式必须放开。 为此，我们进行了大量的深度伸展运动。 我们伸展以增加关节的开放性和运动潜力，增加选择。 这项工作不是为了单独伸展和延长而完成的。 伸展时有双重意识：一种是伸展和放手，另一种是连接并通过身体发送清晰、有力、结构化和充满活力的线条。 这是至关重要的，而且单打独斗都行不通，因为我们无法达到真正变革所需的深度。 我们必须释放旧模式并同时用新模式取而代之，个人意识和意识才能真正改变发生。
The bones cannot be changed or put into place by using the external muscles, which are so vigorously exercised and attended to in so much of dance training. Work must be done on the level of the bone. Of course as we all know, the bones don't move themselves. The muscles move the bone. The muscles that we work on hug the bone and are found deep in the body. They are the muscles of deep postural support. The primary muscles that we work with are the hamstrings, the pelvic floor muscles, the six external rotators, and the psoas. According to Gray's Anatomy these muscles are all responsible for righting the pelvis and spine upon the legs when the fixed end is taken from below as in standing. They are the muscles that take the bones into their place. It is in this capacity that they are capable and responsible for the transmission of force, the transmission of energy, rather then locomotive movement. In all three planes of movement these muscles work synergistically to bring the pelvis on top of the legs and bring the body into a position of potential power and real strength. When the spine and the pelvis are in line on top of our legs, then the force we get from the heavens, gravity, goes through our body, into the floor and we can access it from the floor through our legs to produce movement. It's all available to us. This is efficiency. Efficiency of movement comes from the skeleton being aligned, from the joints being aligned. The transfer of energy from joint to joint being as clean, as clear as possible, so that the energy is available for movement. If the pelvis and spine were not on top of our legs a lot of the force that come through us will spin off and become unuseable to us. As the force comes back up from the ground, some more will spin off in all the areas of disconnection. The energy that's left for us to move with is greatly diminished and we become very inefficient. We then have to engage much more external muscle power to get the same effect we could get if the skeletal level of our body was connected and working properly. Moving from a connected body is what we all call ease of movement, and is what looks so beautiful to us. External strength, strength from the external muscle power can only go so far. I'm talking about accessing all the power the body has by working along with the forces of gravity and energy transmission through the joints.
骨骼不能通过使用外部肌肉来改变或放置到位，外部肌肉在如此多的舞蹈训练中得到了如此剧烈的锻炼和关注。 必须在骨骼水平上进行工作。 当然，众所周知，骨头不会自行移动。 肌肉移动骨骼。 我们锻炼的肌肉紧贴骨骼，位于身体深处。 它们是深层姿势支撑的肌肉。 我们锻炼的主要肌肉是腘绳肌、骨盆底肌肉、六个外旋肌和腰大肌。 根据 Gray's Anatomy，当固定端从下方像站立时一样，这些肌肉都负责矫正腿上的骨盆和脊柱。 它们是将骨骼固定到位的肌肉。 正是在这种能力下，他们有能力并负责力的传输、能量的传输，而不是机车运动。 在所有三个运动平面中，这些肌肉协同工作，使骨盆位于腿部上方，使身体处于潜在力量和真正力量的位置。 当脊柱和骨盆在我们的腿部上方成一直线时，我们从天上获得的力，重力，穿过我们的身体，进入地板，我们可以通过我们的腿从地板上接触到它，从而产生运动。 我们都可以使用。 这就是效率。 运动的效率来自对齐的骨骼，来自对齐的关节。 从一个关节到另一个关节的能量传递尽可能干净、清晰，以便能量可用于运动。 如果骨盆和脊柱不在我们腿的顶部，那么很多通过我们的力量就会散开，对我们来说变得无用。 随着力从地面返回，更多的力会在所有断开的区域分离出来。 留给我们移动的能量大大减少，我们变得非常低效。 然后，我们必须使用更多的外部肌肉力量才能获得与我们身体的骨骼水平连接并正常工作时可以获得的相同效果。 从一个相连的身体移动就是我们所说的轻松移动，这对我们来说看起来很美。 外力，外力的力量，只能到此为止。 我说的是通过与重力和通过关节的能量传输一起工作来获得身体所拥有的所有力量。
These muscles, these deep muscles of postural support, that I believe are responsible for energy transmission in the body, and bridge the body's structural and energetic interface, are, for the most part, deep inside the body. They cannot easily be touched. Their use is a feeling of non-use. You can't "exercise" them. You can't go to the gym and pump them up. None of this type of activity helps in learning better function and connection of the body. I believe that these deep muscles are almost sacred muscles. That they are deep inside the body for a purpose, for the purpose that you can't easily touch them, that you shouldn't pump them, that you shouldn't abuse them. You have to use them in a respectful and subtle way. In class we focus on the pelvis, and its relationship to the spine and the legs. We work with movement in three planes to right the pelvis upon the legs and to bring movement and breath into the sacroiliac joint. Although there is no intrinsic musculature over the sacroiliac joint and its movement is below our conscious control, it does move with the breath and it will move in response to other muscular pull. We work with the hamstrings and psoas to right the pelvis in the vertical place. We usually work on that connection first. We work with the pelvic floor muscles to initiate movement in the sagittal place from the long lever of the spine and to bring the lumbar spine out of hyperextension. We usually work on this next. And finally we work on the support from the horizontal place through the six external rotators. This work is constantly folded and blended upon each other and interwoven with deep long stretches.
这些肌肉，这些姿势支撑的深层肌肉，我认为负责体内的能量传输，并连接身体的结构和能量界面，大部分都在身体深处。 他们不能轻易被触及。 他们的使用是一种不使用的感觉。 你不能“锻炼”它们。 你不能去健身房给他们打气。 这种类型的活动都没有帮助学习更好的身体功能和连接。 我相信这些深层肌肉几乎是神圣的肌肉。 它们在身体深处是有目的的，目的是你不能轻易触摸它们，你不应该泵它们，你不应该滥用它们。 您必须以尊重和微妙的方式使用它们。 在课堂上，我们专注于骨盆，以及它与脊柱和腿部的关系。 我们通过三个平面的运动来矫正腿部上的骨盆，并将运动和呼吸带入骶髂关节。 虽然骶髂关节上没有内在的肌肉组织，而且它的运动不受我们的意识控制，但它确实会随着呼吸而运动，并且会响应其他肌肉的拉力而运动。 我们使用腘绳肌和腰肌使骨盆处于垂直位置。 我们通常首先处理该连接。 我们与骨盆底肌肉一起工作，从脊柱的长杠杆开始在矢状位运动，并使腰椎摆脱过度伸展。 我们通常接下来会处理这个。 最后，我们通过六个外部旋转器从水平位置进行支撑。 这件作品不断地相互折叠和融合，并与深长的伸展交织在一起。
We always start with the pelvis, grounding the pelvis into the floor through the legs. I believe that the pelvis is the keystone to understanding the function of the body and that it must be grounded before the body is free to be expressive and open in movement. The supportive connections must be mastered first. I am committed to the concept that in order to go up you must go down first and to me this ability comes from the pelvis being on top of the legs and the legs grounded in the earth. Another teacher of mine and master acupuncturist J.R. Worsley always says if you have a question in understanding look to nature. A plant or a tree grows down first, it grows its root structure first, then the above ground growth, the growth up follows. Ground the body and then let it soar. Once this work is on its way we also work on the upper body, once again concentrating on the girdle, this time the shoulder girdle. We work to free the shoulder blade on the ribs to increase range and mobility. The upper body is supported from below, giving it the freedom to communicate with expressivity, expansion, and creativity. The upper body is freed by the support of the pelvis. Once the pelvis is righted on the legs, the spine is free to lift out of the pelvis and the upper body is free to communicate from the support of the legs and the support of the pelvis. The pelvis is built for stability and support, the upper body is built for mobility and expression. I believe that we need to get the support first so that we can have something on which the expression can rely and be free to move. There is an ongoing thrust and counter-thrust in the body, against this down comes the inevitable up. We work on connecting the upper and the lower body halves through the diagonal and three dimensionality of movement engendered by the ball and socket joints of the pelvic and shoulder girdles. Concepts of movement that are also added and integrated into class are initiation and sequencing of movement all with conscious, awareness, and choice. This work takes time, it is part of a process, a process of learning and growing. It's part of a process of letting go of old patterns that no longer serve, replacing them with essential knowledge on a body felt level of how the body functions and of who you are as a dancer and finally integrating the change back out into movement. When you get your pelvis on top of your legs by dropping down to the level of the bone you have access to your personal power, to your personal identity. In Chinese Medicine the bone is related to willpower. Moving from the level of the bone is moving from your own will. It's moving from your own power. Muscles, on the other hand, hold your personal history, which is why when your get deep work on the muscle level, all kinds of emotional experiences come out. That's your history, that's what's happened to you.
But beneath that, is really who you are, which is the place you want to get to. Most of therapy, psychotherapy, is about working through and shedding your personal history so that it doesn't drive you, you don't live from the things that have happened to you over and over and over again. That's the muscle. Letting go of that tension, that pressure, that holding, that binding, allows you to get down to the person you really are and to have a chance to become expressive from that. That's really what I'm talking about. I have really an intense passion for the body. I have to say that it really upsets me when I see dancers that are so held and so wrapped up and so far away from themselves. Trying so hard to be correct with no life or breath in their bodies. I'm not talking about letting technique go, I'm talking about getting support underneath for it. To find who you are and come from that place and then to just let the muscles do what the muscles do. Muscles move the bones. We don't have to make them do that. Your daily practicing will.
Work on the level of the muscle doesn't hold. It's a crime to be taught in such a way that to stop for three months at 19 can mean the end to a career. Work on the level of the bones does hold. Muscles can, very easily, be built up to get back into shape when the foundation is healthy. Changing coordination is a lasting change, because it becomes integrated into your life, it doesn't just stay in the studio. It takes time to make that change but it lasts. It becomes part of
you. It's work on a significant and deep level and it is integrated into your entire being, it becomes integrated into your life.
I'd like to close with a quote that hangs on my studio door from Gift of Unknown Things, by Lyall
Watson. "The grammar and the goals of science are incompatible with certain kinds of truth.
There are levels of reality far too mysterious from totally objective common sense. There are
things that cannot be known by exercise only of the scientific method. How can we affirm the
existence which does not readily lend itself to description in the precise language of
technology? I think there is at least one way - I learned to dance."
Thank you very much for this opportunity to share some of my ideas with you.
Post Script: In addition to my teachers who I have mentioned. I would also like to thank my teacher,
Dr. Fritz Smith, creator and developer of Zero Balancing, for all his ideas and concepts that
helped me to intellectually understand and explain my work. He has enhanced my life in more
ways than I can express and I will also be eternally thankful to him.
®1993,2012 Susan T. Klein
New York, New York