151 resultados para dance critic
Resumo:
The solo WORK represents an investigation and inquiry into hybrid practice and performance in dance. WORK is the product and register of the author's Master of Arts by Research project undertaken at Deakin University (2010-2012). The embodied inquiry into the nature and potential of hybridity begins and returns to the body in both the physical and written performances. Rather than viewing hybridity and the hybrid body as a pastiche of poorly understood practices, processes and aesthetics, this investigation proposes the hybrid body and practices as one of positive expansion, inquiry, and development for both art form and artist alike.
WORK developed a new approach to movement practice and performance through a solo performance that used physical paradigms of endurance and work to integrate the normally divergent movement practices of contemporary dance, circus and improvisation. Through experiments of endurance in practice and performance WORK engaged in an experiment that placed the author's body as researcher, dancer, choreographer, performer, acrobat and more into the centre of her inquiry. The author's inquiry posed questions as to the potential or otherwise of the hybrid body in the creation of an individual idiom in dance, and challenged bodily endurance in solo performance practice.
This was a performance demonstration of what training-practice, performance-practice and performance might be from a hybrid perspective and also the physical and psychological performance of WORK. WORK is presented as functional, critical, challenging, demanding, and as an endurance event.
The discussion post performance focused on a new choreographic methodology (Studio-led practice as research for PhD study) for extending the potentiality of hybrid work physically - looking forward to removing bias and habitués and potentially creating a new paradigm aesthetically, physically, practically and critically.
Resumo:
A new performance work in the series titled "Dance Interrogations" which explores and responds to a specific site and a moving audience through dance, spoken word, improvisation and projected screendance imagery.
Resumo:
This article brings together the disparate worlds of dance practice, motion capture and statistical analysis. Digital technologies such as motion capture offer dance artists new processes for recording and studying dance movement. Statistical analysis of these data can reveal hidden patterns in movement in ways that are semantically ‘blind’, and are hence able to challenge accepted culturo-physical ‘grammars’ of dance creation. The potential benefit to dance artists is to open up new ways of understanding choreographic movement. However, quantitative analysis does not allow for the uncertainty inherent in emergent, artistic practices such as dance. This article uses motion capture and principal component analysis (PCA), a common statistical technique in human movement recognition studies, to examine contemporary dance movement, and explores how this analysis might be interpreted in an artistic context to generate a new way of looking at the nature and role of movement patterning in dance creation.
