La danse comme expérience

SÉMINAIRE INTERNATIONAL DES DOCTORANTS DU CRAL EHESS

Danse comme expérience
SÉANCE FINALE. La danse comme expérience – Dance as Experience. Lundi 8 juin 2015 (14h-17h) – Salle Lombard (96 Bd Raspail, 75006 Paris)

NALINA WAIT (University of New South Wales, Australia), Conscious Embodiment
Directeur de recherche : Erin Brannigan

While somatic practice is knowledge perceived at the level of the corpus, it is the practice of thinking with the body-mind as an integrated entity that actually defines a ‘somatic’ practice. As a practical, movement-based philosophy, analogous with philosophies of embodied mind, somatics does not comply with the dualistic hierarchy of ‘mind-over-matter’ but instead proposes matter-as-mind. Specific somatic practices are included in tertiary dance syllabi to enrich mindfulness and affect quality of performance by: increasing a dancer’s capacity for kinaesthesia, releasing excessive muscle tone, preventing injury, integrating coordination and fostering sense of ‘presence’. However, somatic practices also radically challenge traditional pedagogy by resisting institutional codes, such as: mimesis, language-based knowledge, codification and institutionally accepted models of judgement. Furthermore, specific knowledges within somatic practices are often never articulated because this is an entirely different labour to practice. This qualitative research seeks to develop terminology and models for articulating key somatic knowledges, drawing from experienced practitioners in the field. Alternate states of body-mind thinking, such as those I’ve collected within the term ‘conscious embodiment’, cultivate and refine a dancer’s somatic intelligence through sophisticated improvisation practices. Articulating the processes of conscious embodiment offers insight into what corporeal knowledge can contribute to the innovation of dance pedagogy and art making.

MARGHERITA DE GIORGI (Université de Bologne – Université Paris VIII), Méthodologies et esthétiques de la « présence » dans la performance dansée : l’effet « laboratoire ».
Directeurs de recherche : Isabelle Ginot, Enrico Pitozzi

L’intervention propose de revenir sur la notion de « présence », telle qu’elle apparaît dans les discours esthétiques et les pratiques somatiques (Ginot 2010). Cette notion sera analysée à la lumière de certains dispositifs chorégraphiques et de certaines pratiques corporelles qui se retrouvent chez un grand nombre de performeurs contemporains. Nous étudierons plus spécifiquement le travail de Xavier Le Roy et de Myriam Gourfink. Une approche phénoménologique de leurs pièces – pour l’un Self Unfinished (1998-2013), pour l’autre Souterrain (2014) – ainsi que du projet Labodanse, nous aidera à saisir les effets d’une telle conception de la « présence ». Finalement, nous tenterons de décrire la façon dont les artistes repensent l’espace relationnel et transforment le contexte expérimental des pièces. Le « laboratoire scénique » dévoile ainsi ses
mécanismes esthétiques intrinsèques.

VANIA GALA (Trinity Laban Conservatoire, London), (Un)occupy the Body: Towards a Dispossessed Live Presence on Stage.
Directeur de recherche : Tony Thatcher

‘(Un)occupy the Body: towards a dispossessed live presence on stage’ explores the symptoms of the apparent paradoxical condition of embodiment and disembodiment by focusing and locating the latter in the process of arriving at the live presence of a dispossessed body. The research considers a number of key questions: what is the significance of disembodiment as a presence on stage? What are the deeper implications for choreography and dance conventionally constructed around the dominant ideas of embodiment, constant motility and spectatorship? These questions will be addressed by analysing the performance, process and concepts that created the archive and the show entitled Invited Guests. The research draws on the visual arts, philosophy, science, cultural studies, dance, and performance theory. Invited Guests is a choreographic project about apathy. The ‘act of disembodiment’ or of removal of ‘occupied forces’ that transverse the body became one of the central points from which more complex compositional ideas irradiated. Consequentially, the body explored in Invited Guests is a less inhabited body from which particular intensities have been removed or a body that has been transversed by such sudden, instant speed by external forces leaving the traces of this instantaneous occupation. Franco Berardi’s concept of ‘exhaustion’ and its depiction of our present times can be helpful to identify other idiosyncrasies that characterize this new subjectivity leading to a distinct presence on stage. This paper will discuss the strategies and methodologies that led to this particular presence – that I call a ‘dispossessed live presence on stage’ – and to a possible ‘choreography of absence of inhabitation’.

Répondant – Discussant : NICOLO PALAZZETTI (EHESS)

La séance sera conclue par une performance dansée et un pot de clôture. Venez nombreux !

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Organisateurs du Séminaire international des doctorants du CRAL :
Emily Lombi (doctorante, Université Paris III) – Violeta Nigro Giunta (doctorante, EHESS) – Nicolò Palazzetti (doctorant, EHESS)



Citer ce billet
L'équipe ahcdanse (2015, 28 mai). La danse comme expérience. Histoire culturelle de la danse. Consulté le 23 avril 2024, à l’adresse https://doi.org/10.58079/auql

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