Cuerpos en movimiento: un performance dancístico Arché, el origen de una subjetividad danzante
Abstract The dance is a language that he communicates across anatomical movements, a speech stuffed with gestures, commotions and emotions, the function of this one is to express what happens in the interior, and for this motive it might be call a dance, to the vital processes that happen inside th...
| Autor Principal: | Viera Romaña, Yareiza |
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| Formato: | info:eu-repo/semantics/article |
| Idioma: | spa |
| Publicado: |
Educación
2017
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| Acceso en línea: |
Viera, Y. (2017). Cuerpos en movimiento, ARCHÉ: un performance dancístico. (Trabajo de grado Licenciatura en Educación Artística y Cultural). Universidad de San Buenaventura Colombia, Facultad de Educación, Medellín. |
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Abstract
The dance is a language that he communicates across anatomical movements, a speech stuffed with gestures, commotions and emotions, the function of this one is to express what happens in the interior, and for this motive it might be call a dance, to the vital processes that happen inside the human body, such as the breathing, the gaseous exchange, the million river-beds Vibrant to the step of the carbono and oxygen, as the movements of the heart, with the blood, the liquid that dances in all the tracks understood as systems of the human body, also the contractions that our anal cavity realizes at the moment of a gas goes out, imagines, your muscles in an integral movement to give step to the alone one of the dancer, who will invade the whole scene, and as these examples immensities exist in our interior, it is necessary to affirm that we are a creation dancer for nature. The expressionism dancístico re-turns the pre-established conformity, which registers in the form ferociously and rarety, is the sharp thing, torn. His topics are: the dementia, the reproduction, the representation of the double, the ferocity, erotic and basic, the panic, a grimace without modesty, the commotion of the great city, the death. The most significant thing is the aspect of the things they ensue from the feelings, the added to the reality of the personal expression; the technology is important in dance, to be able to report clearly from the expression. Wigman (1913) perceived the dance as a situation and a purification of the espirito. Coffee Müller: Pina Bausch-Cafe Müller (1978), his putting is loaded with melancholy of the non-existent thing, an unoccupied place, by a helpless body. Nobody: not Body, in coproduction with Festival d'Avignon, Schaubühne am Lehniner Platz Berlin of the German choreographer Sasha Waltz (2002), sample of an investigation on the human body, the movement and his material essence, all this. |
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