Abstract
Resumo: A pesquisa detalha alguns pontos fundamentais de Material for the spine, de Steve Paxton, para estabelecer relações entre o mesmo e posições acerca dos fenômenos sensação e percepção no contexto da performatividade na cena contemporânea. Analisa, ainda, a relação entre sensação interna do corpo e o desenho do corpo em movimento, que Paxton define como forma. A partir desses conceitos, discute a potência artística nessa abordagem, pautada numa prática cênica cujo objetivo está em criar dança.
Highlights
Dancer, choreographer, teacher, and movement thinker Steve Paxton (1939, USA), creator of the Contact Improvisation (CI) dance, is known in Brazil due to his visits to the country in the 1980s, while on an exchange program with the artist Tica Lemos, director of Estudio Nova Dança in Sao Paulo
The technique became widespread throughout the country by artists, teachers, and choreographers who dedicate themselves to studying and teaching Contact Improvisation and ensuing materials, such as Nancy Stark Smith’s Underscore1, Lisa Nelson’s Tuning Scores2, and Material for the Spine, by Paxton himself
Even before the release of the DVD Material for the Spine (MFS), Paxton was in Brazil teaching an MFS (Material for the Spine) course in January 2006 at Estudio Nova Dança3
Summary
ABSTRACT – A Glance Upon Material for the Spine, by Steve Paxton – The present research highlights some key points from Material for the Spine, by Steve Paxton, to establish links between Paxton’s work and positions on phenomena of sensation and perception in the context of contemporary performance. It analyzes the relationship between internal body sensation and the design of the moving body, which Paxton defines as form. Porto Alegre, v. 8, n. 1, p. 151-165, Jan./Mar. 2018
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