Abstract
ABSTRACT Starting from an interdisciplinary perspective of the concepts of body, perception, and technologies in the contemporary scene, this text will attempt to define the general aesthetic notion as bodyscape as an extension of the performer's perception. Through a survey of some key practices from the contemporary scene such as choreographic compositions by Myriam Gourfink, Isabelle Choinière, and the project of motion signature by Martine Époque and Denis Poulin, the impact of technologies on redefining the process of the performer's perception in the composition of the movement and the change of the notion of presence will be analysed. In this sense, a series of modifications that influence also the spectator's perception is presented. Therefore, the notion of empathy is discussed, and an attempt to find out how this applies in the context of a digital image of the body is made.
Highlights
RÉSUMÉ – La Perception est un Prisme: corps, présence, technologies – En partant d’une perspective interdisciplinaire autour du corps, de la perception et de l’intervention des technologies sur la scène contemporaine, ce texte définit la notion de bodyscape comme forme d’extension de la perception du performeur
Por meio de um exame de algumas práticas chave da cena contemporânea, como as composições coreográficas de Myriam Gourfink, Isabelle Choinière e o projeto de assinatura do movimento de Martine Époque e Denis Poulin, analisa-se o impacto das tecnologias sobre a redefinição do processo da percepção do performer na composição do movimento e a mudança da noção de presença
We find the LARTech’s work by Martine Époque and Denis Poulin, where motion capture technologies originate two parallel research areas: on one hand, they allow to examine the digital representation of the body, working on the relation between the physical body and its reproduction as an image; on the other hand, they investigate the motor aspects of the performer, using technologies for a deep research about the mechanisms that regulate human locomotion and compositional processes of movement (Époque; Paulin, 2013; Mercy, 2013, p. 253-254)
Summary
The brain works differently from what one expects; it formulates hypotheses coming from a set of possible tasks, and looks for elements that can confirm or deny predictions based on the decisions taken in the real world: “[...] it is the body state that precedes the act, not the other way around” This effect of the performer’s body motion can be considered as a new sort of survival, something persisting in the form of impression and which affects, in an empathic way, the muscles of the observer
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
