Body dance essay performance presence theory

The anthology provides an overview of the current methodologies and theoretical developments in the field of dance studies. Experience, Meaning, and Work, K. Cambridge University Press, pp. A Philosophical Exploration, Oxford: Both Van Camp and Renee Conroy have argued that the ontology of dance needs to be more reflective of and responsive to actual danceworld and artworld practice.

To take the first question first: By the early 20th century, the idea that dance should imitate nature also included the idea that it should imitate human nature, including the emotions see Cohen People were dancing hip-hop and street-dance that i really love.

Here he suggests that we ought to follow the Quinean idea that philosophy ought to respond to and at least be cognizant of current science so that we know how our philosophic views fit into our web of other beliefs about the world. McFee a and b denies that causal explanations about kinesthetic responses Body dance essay performance presence theory ever relevant to dance appreciation.

Franko points out that most choreographers who seek to reconstruct past dances do not so for the purposes of repeating or performing a past structure in order to preserve it. Unfortunately, there has been little work in philosophy of dance that addresses music and theater so the survey below will be somewhat speculative as to directions additional work in this area might take.

Somatic improvisation, or the results of these improvisational exercises, may be included in a theater performance for an audience but need not be.

GoodmanLanger a and Margolis all have semiotic theories of expression in dance, in which dance is seen as having certain symbolic properties that do not amount to a language, per se, but that have communicative power.

All three also manipulate temporality, the way that the performance unfolds through time, as part of the intentional experience of these arts in a way that is more pronounced and more variable than is the typical experience of appreciating a visual art like painting or sculpture.

In addition many dance scholars eschew the idea that dance can be reduced to or compared to anything like a score or text. Research by Franko on dance reconstruction provides an additional argument against the classical paradigm, the idea that a dance is repeatable, which he says is a myth that is not supported by dance practice.

In addition, standardized notation forms are controversial, and no one form is universally accepted see Franko a and Van Camp Musical Improvisation 68 3.

In addition, both dance and theater use physical gesture as a way of communicating with audiences, creating a point of connection for the philosophies of dance and theater. Two of the questions that arise here are the following: There is no general consensus on this in any of the three fields but in general Western art music and theater typically have compositions that are in a form that can be accessed by the performers and by the directors of the performance events.

See Meskin for more on dances as action sequences rather than mere movements. The use of the body in dance is one of the things that distinguishes it from other art forms, but to what extent does this difference make a difference in understanding dance as a form of art. Rhythm is a common feature of both dance and music and thus shows up in the philosophical literature on both.

Its focus is the historical, cultural and political contexts that inform choreographic and dance practices and critical readings of dance—in other words, how dance operates as critical discourse.

The philosophers supporting the application of causal research in kinesthetic responses to dance in general hold that it is relevant to our proper understanding of dance qua the art of dance.

See Bresnahan for an account of improvisational artistry in live dance performance as a sort of agency that is consistent with this positive view.

Langer b explicitly includes dance as art into her system of the arts when she holds that all of the arts are in essence symbol-making endeavors. In addition, Sheets-Johnstone bolsters this account with research in evolutionary biology. Bibliography Works Cited Ailey, A.

See Carroll and BanesCohen42 and Franko ; see also Wolterstorff on the Romantic view of representation in art. What is the role and importance of the performer or performance in connection to work ontology.

The Philosophy of Dance

These essays expand our understanding of the performing body, and their organization around the epistemological problem in dance studies - the dynamics of seeing, remembering and writing - will make the collection useful for classes in dance criticism and theory, cultural theory, performance studies and aesthetics.

McFee points out that dance criticism can be formal or informal, but that criticism properly understood must lead to an interpretation of a particular dance work of art that can be understood in some demonstrable sense in terms of its history, context and in terms of its relevant techniques.

Finally, Van Camp agrees with McFee that dance criticism can assist the dance philosopher to distinguish art-essential from non-art-essential features of performance, thereby assisting the dance philosopher to make ontological claims pertaining to the nature and identity of the dance work of art.

Beardsley to posit that expressiveness might be a necessary if not sufficient condition for dance as art. The right circumstances, he maintains, might be expressiveness, as described above. As for the performers, they carefully and delicately tune their instruments to the precise pitch and their dressing and preparing for this performance.

Dance is practiced in many forms and for many reasons, including social, educative, political and therapeutic reasons. This article will consider the philosophy of dance as a Western theater or concert art, by which I mean the sort of art that is practiced in a performance space and that is offered for some sort of audience or spectator appreciation.

ity founded upon the bodily logos, that is, upon a mindful body, a thinking body, a body which opens up into movement, a body, which, in improvisational dance, breaks forth continuously into dance and into this dance, a body which moment by moment fulfills.

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Of the Presence of the Body: Essays on Dance and Performance Theory

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An Overview of the Dance and Body Expression in the Video Dance in the Real World. words. 0 pages. The History and Influence of Hip Hop Dance.

Dance is practiced in many forms and for many reasons, including social, educative, political and therapeutic reasons.

This article will consider the philosophy of dance as a Western theater or concert art, by which I mean the sort of art that is practiced in a performance space and that is offered for some sort of audience or spectator appreciation.

On the Presence of the Body: Essays on Dance and Performance Theory’s profile, publications, research topics, and co-authors. Before the performance begins, there was whispered in the hall as the spectators were discussing what to anticipate from this dance concert and most of them dress in semi formal.

As for the performers, they carefully and delicately tune their instruments to the precise pitch and their dressing and preparing for this performance. Every year [ ].

Body dance essay performance presence theory
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The Philosophy of Dance (Stanford Encyclopedia of Philosophy)