Translation

Via "Musicthing" (ONE OF MY FAVORITE PLACES ON THE WEB) comes this... which is a new product description shunted through Babelfish.

Having grown up bilingual and in a creative environment with at least some semblance of a sense of humor, word play was pretty much guaranteed to be in the mix. Back in 2002 I wrote a careful description for a Contact Improvisation class I was teaching at the time and then had the brilliant idea to run it through some online translation algorithms (i.e. English to French to German to Dutch to Spanish to ... back to English). I think when it finally made its way back around to the English, I neatened the punctuation and a few dangling anomalies were either removed or rearranged. Enjoy!

Original:

Impulses (from within and without) and our responses to them form the basic fabric of improvisation. In order to have a range of choices available to us, we need an open mind (able to changes states and have a loose grip on intention), and an open body (able to change direction fluidly). There exists a balanced state of potential – neither tense nor limp, frantic nor lethargic – this is the Sweet Spot, effortless and indefinable where time expands and the choices make themselves. Learn to shift between roles (active/passive) more readily. Learn the framework from which to expand your dancing. We will study the minute details of choice making and the grand arcs of transition between states. There will be focused exercises (both physical training and learning to work with ideas and states useful to the dancing) as well as class time to explore the materials we’ve studied on your own terms, in longer periods of open dancing.

Translated:

The impulses of the interior of the form (within the internal part and of the external part), observe the tender marks to smooth ignition and our answers to them: the material of low improvisation (under equipment – towards outside). For having an interval of the selection that is present, we, the practitioner of the formation of the circumstances, need one opened spirit to change, to modify (conditions in degree and having loosened the tight intention) and to an open body (the fluid direction). Here a circumstance balanced of delicate improvements holds no filters, this is the soft mark, without effort, indefinable, where the time rises and the selection takes place. Easier he learns between the rolls to move. He learns structure among them, the end to dance, the end to magnify. We will examine the embarrassingly exact details of the production of the selection and the large elbows (physical equipment – towards outside) of the transition between the statuses. It will similarly give very bundled physical formation (of exercises) to a lot of the practices (and study, in order to operate with ideas and statuses which can be danced usefully) and likewise before that one to classify the hour in order to investigate in the long term the materials that we have examined in the appropriate period of the end we opened.