Latviešu Laikrites straujums 21. gadsimtā cilvēku bieži vien nostāda afekta stāvoklī, kurā viņš bez jebkāda pamatojuma sāk modelēt vēl neesošu notikumu attīstības perspektīvu, radot sev un citiem lieku satraukumu. Satraukums ir sagaidāmo notikumu prognozēšanas procesa loģisks pavadonis, un bailes radošo sajūtu tikai uztur tam piesaistītās domas un attēli. Potenciālās katastrofas un iespējamie traumatiskie notikumi, pat ja tie iestājas, tiek izmēģināti atkārtoti1. Vienlaicīgi tas ir gan mērķtiecīgs, gan arī bezmērķīgs process, kurā tiek radīti risinājumi situācijām, kuras pirms laika tā vai citādi nav iespējams ietekmēt, vienīgi vizualizēt savā prātā, konstatējot iespējamības, bet ne realitāti. Par vienīgo realitāti tad kļūst iedomātā katastrofu pasaule. Nonākot jaunā situācijā, cilvēku reakcija vienmēr ir neparedzama, neplānota, to iespaido dažādi esoši un neesoši blakus faktori, vissīkākā detaļa var izmainīt notikumu attīstības gaitu. Piemēram, neesošu notikumu iznākumus ir iespēja plānot, izmantojot matemātiskās varbūtības principus, bet, ja situācija ir īsta un nav plānota, tā jau nokļūst atmiņu un vēsturisko notikumu attīstības plauktā. |
Angļu Summarising the studies on the mechanism of body memory and the structure, desing and rehearsal process of the dance performance "Count to 100' to Calm Down" the following conclusions are drawn: 1. The theoretical research assumptions about body memory mechanism should be tested in practice to make sure that the body maintains already existing information and is open to new information obtaining and acquiring. 2. Body memory mechanism is based on the body acts as the mind - structured and active. The boundary between the mind and body memory mechanism is fragile, so people often do not notice that regular daily activities no longer stimulate brain pulses, but they activate body memory mechanism. 3. The body has a dual corporeal experience - as internal and external body with the skin bordering. 4. Regular working on specific movement material repeating improves not only body movement quality but our spiritual state operatively adapts to different conditions, time, place and space in general. 5. Dance as subject to the rules and at the same time as an improvisation and movement game is favorable body memory mechanism initiator, mover, and runner, it does not allow the movement to lose its relevance and quality. 6. Each body movement, which is danced, is unique in that initial feeling that cannot be repeated, it is possible to keep the body memory, allowing it to repeat it again. 7. Not changing the motion material but changing emotions in performing movements, one can observe the body memory mechanism in action and the attempts of the mind to influence. Truly, the adaptability to various situations and different circumstances is very much determined by the level of professionalism of a dancer. The body memory mechanism to function in dance should be worked with regularly, helping individuals to realize their potential, but also allowing the body rather than the mind to set new goals, achieve them and observe the movement of the body memory quality it can develop, keeping the existing sources of information within. |
