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Kana Sato is an unique founding member of Shen Wei Dance Arts. Sato is from Japan, and attended CalState College for dance. Upon commencement, she was supplied a scholarship to American Dance Competition, the place Shen Wei was a visitor artist. At the tip of the summer time, he invited her and others to affix an organization he was forming in New York, which turned her dance dwelling for a decade. It’s the story of a profitable dance profession – however she’s shifted paths since then.
“Once I was leaving the corporate,” says Sato, “I transitioned into instructing Pilates, however there was one thing lacking. I missed dancing. I missed the efficiency side of it, however my physique was getting older, and I knew that bodily I wouldn’t be capable to do the identical sort of efficiency as I did. I assumed perhaps I may do appearing. So I signed up for a two-year conservatory with the instructor Terry Knickerbocker, who’s my boss now.”
Sato is now a motion instructor at Knickerbocker’s appearing studio in Brooklyn. Of the conservatory program, she says, ‘It actually modified my life. I rediscovered who I used to be. On the finish of the 2 years, I used to be hooked.”
She continues, “After that, I did some appearing right here and there, however I actually liked witnessing private progress in my friends, and saved going again to (Knickerbocker’s) scene examine lessons for 4 or 5 years. At that time, Terry was constructing his personal faculty. He knew about my in depth dance background and requested if I needed to show motion. That’s after I began to shadow my mentors and co-teachers Nathan Flower and Julia Crockett, who’re nonetheless residents on the studio.”
Sato combined her dance background with new creative enter – Williamson method, a physicality-based appearing method that she now teaches. “Regardless that I took a semester of this system whereas within the conservatory, it by no means actually clicked for me. However as I used to be finding out beneath Nate and Julia, I used to be discovering how deeply efficient it could possibly be for an actor to find themselves by motion. Virtually in an reverse method from how we be taught our our bodies as dancers. As dancers, we practice ourselves to be our greatest variations onstage, to endure ache and discomfort. We practice and practice to be the very best. Usually the actor coaching, no less than on the fundamental degree, is to undo the habits that we maintain to guard ourselves. The purpose is to be messy, imperfect, human.”
Dancers and actors are each artists, however we converse totally different languages. “As a dancer, we domesticate this presence onstage, by movement or stillness, proudly owning the area. That interprets nicely whether or not on stage or on display screen. What doesn’t translate is a few of the armoring, the habits that assist us ‘maintain it collectively.’”
As dancers, it’s not our bodily coaching that lends itself to appearing. In truth, the rigidity of that coaching usually must be undone with a purpose to discover the pure physicality of a character. It’s our consciousness of and curiosity in bodily exploration that’s our energy.
“When a dancer has that hyperawareness within the refined particulars, and their instrument is malleable and particular, that may be useful. Dancers who know the way to make bodily decisions are immediately watchable. And but, dancers (myself included) are so used to doing one thing with out security or consolation within the physique. They endure such discomfort bodily, and I feel it interprets emotionally and psychologically. However human beings are wired for security and luxury; with out that, we are able to’t be curious. For me, as a dancer, I used to be in denial with the diploma of discomfort I used to be experiencing, whereas pushing by it. However as an actor, we have to be conscious that if you end up uncomfortable, you aren’t embodied. The somatic, mind-body connection is essential.”
They’re two totally different abilities. Dancers have the power to endure discomfort, all the way in which as much as ranges of ache, and nonetheless dance. But when actors attempt to push by discomfort, their efficiency gained’t learn as pure. It may come off as stiff, or awkward.
Sato additionally notes that dancers might be very unbiased of their craft – most of your coaching is spent focusing by yourself physique and efficiency. In theater model dance, dancing with a companion or group is secondary, and even then that interplay is choreographed and constant. Whereas appearing is all about interactions between individuals. Scenes require you to collaborate, responding to a companion’s evolving enter. Probably the most comparable instance in dance is perhaps a structured contact improv.
Sato underlines the sense of neighborhood that appearing and Terry Knickerbocker Studio has introduced her, of a spread that she hadn’t felt in dance firm life. The power to foster that security and closeness (and accomplish that rapidly) just isn’t solely a part of actor tradition, it’s a part of the job. Being thrown onto set with an actor you’ve barely met and doing an emotionally linked scene with is a talent.
Dancers completely convey their very own strengths to appearing; we simply additionally want to pay attention to our habits. For these seeking to make the shift to appearing, or add it to their lengthy listing of abilities, it might take some translation of your current artistry. It would require rewiring your responses to discomfort, unworking some perfectionism, uprooting the delight that hides in independence, and opening as much as others in a brand new method.
“My first ardour, nonetheless my ardour, is dance,” says Sato. “And it has fueled me for many years. And – I really feel my life is a lot richer now by (appearing) coaching and on this supportive function. I like instructing. I don’t remorse taking this path, not an oz. If anybody is considering transitioning into appearing, or including appearing coaching to their dance coaching, it’s unbelievable.”
By Holly LaRoche of Dance Informa.
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