Full text
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| Author(s): |
Juliana Cunha Passos
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2016-08-07 |
| Examining board members: |
Elisabeth Bauch Zimmermann;
Ana Maria Rodriguez Costas;
Adilson Nascimento de Jesus;
Paulo José Baeta Pereira;
Atílio José Avancini
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| Advisor: | Elisabeth Bauch Zimmermann |
| Abstract | |
The main theme of this theoretical and practical research for PhD in Performing Arts is the use of improvisation in the creative dance process, based on two methods developed by Rolf Gelewski and the possibilities of relationship between dance and elements of visual language and musical. Initially, the project proposed a historical review of Gelewski's artistic and pedagogical work. Gelewski (1930-1988) was a dancer, teacher and researcher of dance who lived and worked in Brazil between the 1960s and 1980s. In a second moment, the research developed improvisation proposals with volunteer artists using elements of visual and musical language to stimulate the creation of dance. At this stage, we used two methods of improvisation, structured and free, contained in the publication "To see, To hear, To move: two methods, and thoughts on improvisation in dance" (1973) of Gelewski. This publication addresses primarily a work with improvisation in dance, with suggested musical works. Initially music was explored as a driving energy in order to stimulate movement, as proposed the methods of Gelewski. Later, the work was expanded by developing improvisations from works of Visual Arts (figurative and abstract), adapting the methods for this artistic language. Finally, in the artistic-creative phase, improvisations and labs of creation were performed for the development of contemporary dance "Doar-se dor", the result of the collective creative process. In the first phase, relations occurred in only one direction: music or image stimulating the creation of movements and senses. In the final phase, there were created new relationships and interrelationships between pictures (visual language) and sounds (musical language), from the group's own creations. The relationship broke barriers and elaborated in multiple directions and possible combinations: Sound / Image / Movement which generate image, which generate movement, which generate sound, which generate a scene that generates spectacle ... And where does all this creation come from? (AU) | |
| FAPESP's process: | 12/14083-2 - The process of dance creation and its relationship with elements of Visual Art and Musical: a proposal to use Rolf Gelewski´s method of improvisation |
| Grantee: | Juliana Cunha Passos |
| Support Opportunities: | Scholarships in Brazil - Doctorate |