论文代写：舞蹈创作
William Forsythe是一位美国编舞家，他提出了一种方法来吸收新的设计技巧，使舞者能够在一定程度上打破潜意识效果（Forsythe，1999）。 “即兴创作技术应该是通用的，因为它可以应用于不同的身体配置和动作。它还应该具体说明，它提供了描述特定类别或所有可能运动空间子集的认知捷径“（Hagendoorn，2003，p.222）。例如，在即兴中，人可以移动手臂并且仍然握在一起不能被认为是一种技术，因为它没有具体定义空间内所有可能移动的子集。有更多的限制，因此这不符合规则。然而，当这个想法被广泛应用于两肢或肢体部位相连接，然后在身体周围建立身体运动时，它就成为一种即兴创作技术。同样，可以在终点效应器在身体周围绘制圆形或线形，或者想象围栏或障碍物并尽量避免它。
论文代写：舞蹈创作
外部对象和舞者自己的身体可以用神经认知的角度来定义。根据作者的观点，外部物体和身体都被表现为内在和外在的对空间的理解，并且根据作者，这些参考框架可以重新布线以便阻止潜意识对舞蹈即兴创作技术的影响。这里有一些认知重新布置（Hagendoorn，2003）。这被称为定点技术。一旦舞者能够固定并与身体内在的关系以及他们如何对外在空间做出反应，那么他们就可以制定规则或约束，迫使他们挑战这种关系。他们可以在内在空间内发现新事物，或者用它来理解他们的习惯行为或避免它们。例如，他们可以改变或控制他们如何四处走动或蹲下或从地板上站起来等等。现在，由于已经确定，当舞者在意识到他们的动作时不太精练并且不愿在他们的舞蹈中即兴创作，那么它就会让他们挑战他们的潜意识影响。
论文代写：舞蹈创作
William Forsythe is an American choreographer, who presented a way to assimilate newer design techniques that would enable the dancer to break from subconscious effects to a certain degree (Forsythe, 1999). “An improvisation technique should be generic in that it can apply to different body configurations and movements. It should also be specific in that it offers a cognitive shortcut to describing a particular class or subset of (the space of all possible) movements” (Hagendoorn, 2003, p.222). For instance, in improvisation that person could move the arms and still hold hands together cannot be considered as a technique, as it is not specifically defined a subset of all possible movements within the space. There are more constraints and hence this would not qualify as a rule. However, when the idea is generalized where two limbs or parts of the body are connected, and then bodily movements are constructed around it, it becomes an improvised technique. Similarly, one can draw circles or lines around their shape with end point effectors being in the body, or imagine a fence or obstacle and try to avoid it etc.
论文代写：舞蹈创作
External objects and the dancers own body can be defined in terms of a neurocognitive perspective. Both external objects and the body are represented in intrinsic and extrinsic understanding of space and according to the author, these frames of references can be rewired in order to stop the influence of the subconscious on the dance improvisation techniques. Some amount of cognitive rewiring goes into this action here (Hagendoorn, 2003). This is referred to as a fixed-point technique. Once the dancer is able to fix upon and intrinsic relationship with the body and how they react to the extrinsic space, then they can make rules, or constraints that force them to challenge this connection. They can work within the intrinsic space to discover newer things or use it to understand their habitual actions or avoid them. For instance, they can change or control how they walk around or squat or rise up from the floor etc. Now since it is identified that when a dancer would be less refined and less inclined to improvise in their dance when they become aware of their action, it then follows that it would be better for them to challenge their subconscious influences.
