Aggeliki Nikolaidou
I studied in the theatre department of the Aristotle University of Thessaloniki, where I completed the specification of theatre directing. At the same time, I studied dance and obtained the ISTD qualifications in teaching and dancing in modern and tap dance (DDE, Intermediate, Advanced 1). Afterwards, I studied at the masters program of the Roehampton University in London with the title “London’s theatre and performance: viewing, making, writing”. Because I always was interested in dance, I participated in various workshops and classes with Yasmin Mahmood, Ben Green, Billy Barry (Gaga), Kostas Gerardos, Mathew Bourne’s new adventures, Jordi Ros Navarro, Peni Diamantopoulou (Graham technique) etc. The past few years, I have been teaching dance and theatre to adults and children and I examine the ways that an actor could be trained in an academic framework aiming to conduct a PhD on this subject
Abstracts
Ohad Naharin: Gaga method in Deca Dance
My project with the title “Ohad Naharin: Gaga method in Deca Dance” was a thorough investigation of the Israeli choreographer’s life, of the method he created (Gaga) and how this method is illustrated in Deca Dance. It was presented in the form of a lecture as part of my dissertation for obtaining my undergraduate degree in the theatre department in Thessaloniki. Since both dance and theatre are considered performance arts, I find quite important the exploration of the discipline of dance using materials from the discipline of theatre and performance in the framework of a theatre department, in order to learn from/for one another. Ohad Naharin consists one of the most profound choreographers not only because he gave an identity to dance to Israel but he gave a new character to teaching with his method named Gaga. Gaga is a system of guided improvisations with a specific vocabulary aiming at self-awareness. Deca Dance is a performance which helps understand the choreographer’s philosophy since it consists a choreographic collage from pieces of Naharin’s choreographies. I conclude that Ohad Naharin isn’t only a significant choreographer, but a good teacher whose goal is to persuade everyone that they can and must dance.
