Content uploaded by Ruben Luis Bardales Bardales
Author content
All content in this area was uploaded by Ruben Luis Bardales Bardales on Mar 09, 2021
Content may be subject to copyright.
A preview of the PDF is not available
La ausencia como estética posdramática en el trabajo coreográfico de Jérôme Bel
Abstract and Figures
En esta investigación se profundiza en la analogía existente entre el concepto de teatro posdramático y el movimiento no danza con el fin de desarrollar una metodología para examinar las propuestas coreográficas que se circunscriben dentro del denominado movimiento no danza. Para construir esta herramienta de estudio, se partirá del esquema tipológico presentado por el filósofo inglés Peter Osborne para definir la negación en el arte conceptual que se da a través de cuatro características: la negación de la objetividad material, la negación de la especificidad del medio, la negación de la significación visual y la negación de la autonomía de la obra de arte. Dicho esquema nos servirá para verificar el vínculo entre lo posdramático y la no danza, pero mediante la idea de ausencia, no como negación. Luego, este instrumento se aplicará a través del análisis de cuatro elementos de la estética posdramática como son el texto, el cuerpo, el espacio y el tiempo con la finalidad de explorar la forma en que se manifiestan dichos aspectos en las cuatro primeras piezas dancísticas del coreógrafo francés Jérôme Bel, quien es considerado uno de los líderes del movimiento no danza. Los montajes de Bel a analizar serán Nom donné par l’auteur (1994), Jérôme Bel (1995), Shirtologie (1997) y Le dernier spectacle (1998). De este modo se explicará cómo es que, a través del concepto de ausencia como recurso estético, no sólo se reflexiona sobre la danza misma, sino que también se manifiesta el discurso posdramático de crítica a la representación escénica en general.
This research delves into the existing analogy between the concept of postdramatic theater and the non-dance movement in order to develop a methodology to examine the choreographic proposals that are circumscribed within the so-called non-dance movement. To build this study tool, we will start from the typological scheme presented by English philosopher Peter Osborne to define the negation in conceptual art that occurs through four characteristics: the denial of material objectivity, the denial of the specificity of the medium, the negation of visual significance and denial of the autonomy of the artwork. This scheme will help us to verify the link between the postdramatic and non-dance, but through the idea of absence, not as negation. Then, this instrument will be applied through the analysis of four elements of postdramatic aesthetics such as text, body, space and time in order to explore the way in which these aspects are manifested in the first four dance pieces of the French choreographer Jérôme Bel, who is considered one of the leaders of the non-dance movement. The montages of Bel to be analyzed are Nom donné par l’auteur (1994), Jérôme Bel (1995), Shirtologie (1997) y Le dernier spectacle (1998). In this way, it will be explained how, through the concept of absence as an aesthetic resource, not only is it reflected on dance itself, but also the postdramatic discourse of criticism of stage representation in general is manifested.
Temas
Bel, Jérôme--Crítica e interpretación
Teatro europeo
Arte conceptual
Danza
Artes escénicas
Figures - uploaded by Ruben Luis Bardales Bardales
Author content
All figure content in this area was uploaded by Ruben Luis Bardales Bardales
Content may be subject to copyright.
ResearchGate has not been able to resolve any citations for this publication.
Beginning with the concept of a postdramatic theatre as articulated by the German theorist Hans-Thies Lehmann, this essay considers the recent work of several major international directors – Ivo van Hove, Punchdrunk, Signa and others – as examples of postdramatic performance. It argues that what they have in common is a challenge to the traditional concept of mimesis and of the theatre world as a fictional construct distinctly separated from everyday life and its surroundings.
This study is the first monograph on the work of French choreographer Jérôme Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. It contains an overview and in-depth analysis of all of his choreographies, from Nom donné par l’auteur to Disabled Theatre, and provides a theoretical reflection on their theatrical nature.
Bel has developed a singular discourse on dance that has often been labelled 'conceptual'. By reducing the stage elements in his performances to a minimum, his work explores the implications of dance as an art form that has, since the heyday of modernism, based its guiding principles on the laws of nature. Bel addresses the question of power relations in dance by working through the questions of authorship and various forms of subjectivity dance produces. Offering a unique opportunity to ground seemingly
abstract academic theories in a specific embodied artistic practice, this study explores the intersection between artistic practice and theory.
Drawing on the postmodern perspective and concerns that informed her groundbreaking Terpischore in Sneakers, Sally Bane's Writing Dancing documents the background and development of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream. Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers' Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the "drunk dancing" of Fred Astaire. Copyright
"The Judson Dance Theatre "explores the work and legacy of one of the most influential of all dance companies, which first performed at the Judson Memorial Church in downtown Manhattan in the early 1960s. There, a group of choreographers and dancers-including future well-known artists Twyla Tharp, Carolee Schneemann, Robert Morris, Trisha Brown, Yvonne Rainier, and others-created what came to be known as " postmodern dance." Taking their cues from the experiments of Merce Cunningham, they took movements from everyday life-walking, running, gymnastics-to create dances that influenced not only future dance work but also minimalism in music and art, as well as the wedding of dance and speech in solo performance pieces. Judson's legacy has been explored primarily in the work of dance critic Sally Banes, in a book published in the 1980s. Although the dancers from the so-called "Judson School" continue to perform and create new works-and their influence continues to grow from the US to Europe and beyond-there has not been a book-length study in the last two decades that discusses this work in a broader context of cultural trends. Burt is a highly respected dance critic and historian who brings a unique new vision to his study of the Judson dancers and their work which will undoubtedly influence the discussion of these seminal figures for decades to come "Performative Traces: Judson" "Dance Theatre and Its Legacy "combines history, performance analysis, theory, and criticism to give a fresh view of the work of this seminal group of dancers. It will appeal to students of dance history, theory, and practice, as well as all interested in the avant-grade arts and performance practice in the 20th century.
Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics.
This book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century.