The Body’s Memory Archives in the Process of Generating an Aesthetic Movement and `Flow Experiences` for the Audience in the Production of the Performance tXc -TOXIC (after F. Richter’s play Rausch)

2021 ◽  
Vol 66 (2) ◽  
pp. 173-185
Author(s):  
Raluca Lupan
Keyword(s):  
Aesthetic Experience ◽  
Focal Point ◽  
Dance Performance ◽  
Body Memory ◽  
Main Site ◽  
Aesthetic Movement ◽  
Contact Improvisation ◽  
Flow Experiences

"The present enquiry is particularly interested in the performer’s body archiving memory while generating poetic movement on stage. The main site of investigation is a theatre-dance performance and the work engaged by the performers of tXc-TOXIC (after the Falk Richter’s play Rausch, an Insula Creative Hub production, directed by Cristian Grosu, choreographed and co-directed by me). The focal point of my argument is that, with proper and sustained body training, performers can easily incite and produce aesthetic movement after engaging the CI (contact improvisation) means of accessing movement and body memory. Keywords: (Non-toxic) body archives, aesthetic experience, embodiment, dance, performance "

scholarly journals Spectators’ aesthetic experience of sound and movement in dance performance: A transdisciplinary investigation.

2016 ◽  
Vol 10 (1) ◽  
pp. 42-55 ◽  
Author(s):  
Matthew Reason ◽  
Corinne Jola ◽  
Rosie Kay ◽  
Dee Reynolds ◽  
Jukka-Pekka Kauppi ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Dance Performance

The Confluence Between Materiality and Immateriality in Site-Specific Sound and Visual Performances

2020 ◽  
pp. 64-96
Author(s):  
Frederico Dinis
Keyword(s):  
Real Time ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
Experimental Approach ◽  
Focal Point ◽  
Visual Performance ◽  
Site Specific ◽  
Visual Narratives ◽  
Field Recordings ◽  
The Past

Aiming to explore the diverse nature of sound and image, thereby establishing a bridge with the symbiotic creation of sensations and emotions, this chapter intends to present the development and the construction of a proposal for the confluence between materiality and immateriality in site-specific sound and visual performances. Using as a focal point sound and visual narratives, the author tries to look beyond space and time and create a representative atmosphere of sense of place, attempting to understand the past and sketching new configurations for the (re)presentation of identity, guiding the audience through a journey of perceptual experiences, using field recordings, ambient electronic music, and videos. This chapter also presents the development of an experimental approach, based on a real-time sound and visual performance, and some critical forms of expression and communication that relate or incorporate sound and image, articulating concerns about their aesthetic experience and communicative functionality.

Study on Community Empowerment by Conversation Art and Design

2014 ◽  
Vol 584-586 ◽  
pp. 132-137
Author(s):  
Wen Chia Lin
Keyword(s):  
Rural Areas ◽  
Aesthetic Experience ◽  
Basic Element ◽  
Cultural Citizenship ◽  
Community Empowerment ◽  
Space Planning ◽  
Art And Design ◽  
Aesthetic Movement ◽  
Life Styles ◽  
Art Community

Community is a basic element of living field. However, due to the influence and intervention of modernization, the original life styles and traditional cultures of Taiwan’s rural areas have vanished gradually. Since the Council for Cultural Affairs (CCA), Executive Yuan promoted the policy of Community Empowerment in 1994, there have been plenty of discussions related to the topic.Aiming at the operation and combination of Local Aesthetics and Art Community, the cultural policies such as Cultural Citizenship and Civil Aesthetic Movement have made Art into the Community a famous topic in the artistic fields and community construction.Through long-term participation in the construction of Tugou Community , the study reviews the modes, implementations, positions and values of art issues during the integration of Community Empowerment and Art over the years, and analyzes the spirits and meanings behind the issues. The progress of community aesthetics is mentioned in the study, which not only emphasizes on the Publicity and Participation of art empowerment, but also observes the influence of artworks on aesthetic experience of residents and become the technique applied in the space planning and building. It expects to propose a methodology or epistemology on seeking for local aesthetics and practices on life and art for Taiwan’s community empowerment in the future.

Aesthetics of Dance

2021 ◽  
Author(s):  
Beatriz Calvo-Merino
Keyword(s):  
Cognitive Neuroscience ◽  
Experimental Psychology ◽  
Performing Arts ◽  
Expressed Emotion ◽  
Aesthetic Experience ◽  
Prior Experience ◽  
Dance Movement ◽  
Dance Performance ◽  
Embodied Aesthetics ◽  
The Brain

How does the brain see and experience dance? Performing arts have captured the attention of empirical aesthetics and neuroaesthetics. In this chapter, the author reviews studies from cognitive neuroscience and experimental psychology that have contributed to our understanding of the brain mechanisms for dance perception. The author introduces the concept of sensorimotor aesthetics, the process whereby the observer evokes an internal simulation of the perceived action of a dance performance, during its emotional and aesthetic experience. The author proposes an embodied aesthetics framework, in which the perception of the dancer’s body, the dance movement, and the expressed emotion are significantly influenced by an observer’s prior experience. Finally, the author discusses potential avenues for enhancing interactions between the science and artistic communities in pursuit of a deeper understanding of the aesthetics of dance.

scholarly journals The relationship between the dancers’ and the audience’s aesthetic experience

Psihologija ◽  
2017 ◽  
Vol 50 (4) ◽  
pp. 465-481
Author(s):  
Maja Vukadinovic ◽  
Slobodan Markovic
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Live Performance ◽  
Dance Performance ◽  
Video Presentation ◽  
Other Hand ◽  
Custom Made ◽  
The Aesthetic ◽  
The Relationship ◽  
Higher Sensitivity

The study investigates the aesthetic experience of a dance performance from the perspective of both the dancers and the audience. The audience observed three short custom-made choreographies that were presented live and then watched the recorded versions, and judged them on an instrument designed to measure the aesthetic experience of dance. The choreographies were performed by six dancers. The dancers judged their own performances as well as the recorded versions of the performances. The analyses revealed that the dancers? aesthetic experience of a dance performance is similar when they perform choreography and watch it on video. On the other hand, the audience showed a higher sensitivity to live performance: they judged the live performance higher on all dimensions of aesthetic experience compared to their video presentation.

scholarly journals Coordinated interpersonal behaviour in collective dance improvisation: the aesthetics of kinaesthetic togetherness

2018 ◽  
Author(s):  
Tommi Himberg ◽  
Julien Laroche ◽  
Romain Bigé ◽  
Megan Buchkowski ◽  
Asaf Bachrach
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Aesthetic Experience ◽  
Ongoing Research ◽  
Interpersonal Closeness ◽  
Contact Improvisation ◽  
Art Form ◽  
Body Activity ◽  
Dance Improvisation ◽  
The Aesthetic

Collective dance improvisation (e.g. traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of “togetherness” associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a ‘rhythm battle’ dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts.

Sight Beyond Sight: A Conceptual Exploration of the ‘Gaze’ in Facilitating Simulations

2021 ◽  
Vol 52 (3) ◽  
pp. 290-311
Author(s):  
Anjum Naweed ◽  
Elyssebeth Leigh
Keyword(s):  
Critical Theory ◽  
Focal Point ◽  
The Body ◽  
Central Component ◽  
Power Relationships ◽  
Key Factors ◽  
Body Memory ◽  
The Gaze ◽  
Learning Contexts ◽  
The Impact

Background: This article connects disparate components in simulation. The central component is that facilitators manage simulations as learning contexts. The second concerns a perception of simulations as safe containers, implying the existence of impermeable barriers between simulation and dangers of reality. However, when stepping into the facilitation space, facilitators encounter a third component—the gaze. A concept from critical theory and psychoanalysis, this refers to acts of seeing and being seen, of/by themselves and others, and can engender heightened awareness as facilitators see themselves from the focal point of multiple lens, and within a container that may not be so impermeable. Aim: To increase understanding of simulation skills and development options for facilitators, we explore these components using: a) novice to expert progression; b) power relationships; and c) the body memory as key factors which may influence the intensity and direction of awareness. Method: A narrative-based analysis of literature examines instances where awareness of self, and/or others influences how facilitators operate within simulations. Results: Aware that simulations create uncertainties, facilitators may experience greater anxiety than those managing non-facilitation settings. They must navigate participants through emergent conditions wherein the unexpected can conspire to render safe containers permeable, and alter participants’ expectations. Increased understanding of the impact of gaze may enable facilitators to respond flexibly to unanticipated developments. Conclusions: Understanding the impacts of the gaze within and beyond a simulation may enable facilitators to prepare internally—and perform externally. A conceptual framework is developed to assist facilitators reflect and identify applications.

The Choreographer’s View

2017 ◽  
Vol 8 (1) ◽  
pp. 32-39
Author(s):  
Birgitte Bauer-Nielsen
Keyword(s):  
Performance Studies ◽  
Focal Point ◽  
Social Practices ◽  
Dual Role ◽  
Dance Performance ◽  
Practice Based Research ◽  
Choreographic Process ◽  
Short Presentation ◽  
Artistic Research

Abstract In 2016, I published a book in Danish ‘Koreografens blik – En performativ koreografisk metode til skabelse af en interkulturel forestilling’. This article is a short presentation of this book. The book qualifies the choreographer’s view, that is, it examines and articulates the choreographic process from idea to product. Because of my dual role as choreographer and scholar, my analysis takes practice-based research and artistic research as its points of departure. On the basis of courtship dances, I have created an intercultural dance performance entitled ‘Sommerfuglen’ (‘The Butterfly’). The performers are dancers and musicians from Tanzania, Vietnam and Denmark. Courtship dances have a ritual status in all three cultures. I analyse the translocal process of the development of an intercultural dance performance in which local Tanzanian courtship dance features are analysed. The focal point of the translocal analysis are artistic and social practices that support the dance performance. What changes occur from translocal practice and/or dialogue? How can they be used in a global dialogue? The theories and methods used to analyse performative choreographic practice have their origins in performative anthropology, performance studies and theories of performativity.

Integrating perspectives: How the development of second-personal competence lays the foundation for a second-personal morality

2020 ◽  
Vol 43 ◽  
Author(s):  
John Corbit ◽  
Chris Moore
Keyword(s):  
Empirical Evidence ◽  
Developmental Process ◽  
Focal Point ◽  
Personal Information ◽  
Personal Competence ◽  
Triadic Interactions ◽  
Personal Morality ◽  
Integrative Process

Abstract The integration of first-, second-, and third-personal information within joint intentional collaboration provides the foundation for broad-based second-personal morality. We offer two additions to this framework: a description of the developmental process through which second-personal competence emerges from early triadic interactions, and empirical evidence that collaboration with a concrete goal may provide an essential focal point for this integrative process.

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