Transversal Research Training (TRT)
Focusing on the development of strategies to articulate training, research, feedback and communication, TRT is a device for artistic practice being created in recognition of the historical contribution made by the figure of the “translatress.” It develops critical and optimized coordination by exercising an ecosystem of practices based on the respect for the territorialisation of practice, interdependence by engaging a diversity of dance practices while aiming for a non-hierarchy by inviting others bodies.
TRT encourages strategies for sharing and taking care of the production context in art practice.
It is transversal because it encourages a crossing-borders perspective by stimulating interconnections of practices.
It is situated research that questions through translation the legitimization of authorship .
It is training because it looks for an enduring process of engaging art and life throughout the artistic process.
TRT does not claim uniqueness or originality.
Drawing on different techniques and/or ways of training, among others, it takes the progressive and accumulative structure from ballet; biomechanics dynamic (Gurquel method); inversion and chance tools from Cunningham Technique; spine mobility and focus in pelvis box from Graham technique; changing roles and dynamics of guiding/following from Argentine tango and Contact Improvisation; gravitational efficiency from Release Technique; relationship between language-practise-reporting from Scorescapes (Lilia Mestre); feedback strategies from Asymetrical Motion (Lucas Condró); tools for/of/by The Performer (Melina Seldes); emergent composition in games from Real Time Composition (Joao Fiadeiro); flexibility of myofascial chains (static and dynamic) from Tensegrity Training (Amparo Gonzalez Solá y Juan Onofri); strategies for damage reparation from Queering Damage (Pritchard, Snelting, Rocha and others).
TRT offers: