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| Author(s): |
Karina Campos de Almeida
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: | 2016-07-22 |
| Examining board members: |
Matteo Bonfitto;
Holly Elizabeth Cavrell;
Daniela Gatti;
Marina Fernanda Elias Volpe;
Lilian Freitas Vilela
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| Advisor: | Matteo Bonfitto |
| Abstract | |
This dissertation investigated how dance has performed a catalyst for compositional notions produced by other arts, considering specific artists who explored unusual intersections between dance, visual arts, film, and music. In the first chapter, I examine some connections between Wassily Kandinsky, Rudolf von Laban, Gret Palucca and Oskar Schlemmer, showing what propelled their practice and thinking, considering historical and aesthetic convergences that nourished the first explorations of abstraction in dance in the early twentieth century. In the second chapter, from references brought by Sergei Eisenstein, René Clair and Maya Deren, I verify to what extent these filmmakers have proposed new ways to frame movement, body and ordinary objects through their forms of montage, shedding light on other ways to make dances. In the third chapter, I discuss how John Cage¿s compositional notions encouraged many artists from this period, nourishing the terrain from where experimental practices in different languages would emerge. In the fourth chapter, I argue how from the early 1950s it is possible to identify a choreographic turn, punctuated by an investigation into the materialities generated by embodied practices, denying the dramatic structure that used to guide modern dance, and also by an interest in improvisational practices and collaborative creative processes. In this context, some works from Alwin Nikolais, Paul Taylor, Merce Cunningham and from Judson Dance Theater are addressed, due to the fact that their innovative ways to explore the body expanded the practice of choreographic composition. Whereas each period has its avant-garde initiatives, I verified how some compositional notions have been appropriated and transformed back and forth between multiple poetic references, leaving performative traces that resonate in the current scene of contemporary dance (AU) | |
| FAPESP's process: | 13/02781-0 - Between territories: the intersection of dance with composition devices from related arts |
| Grantee: | Karina Campos de Almeida |
| Support Opportunities: | Scholarships in Brazil - Doctorate |