| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 1.25 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
Embora no senso comum e nos circuitos institucionais prevaleça a noção de que a
dança só preenche a sua natureza como ‘arte viva’ vários profissionais têm empreendido
experiências criativas notáveis que desafiam esse entendimento. Além disso, técnicas de
animação, processamento de dados e captura de movimento permitem expandir a coreografia
para além do corpo humano, pondo em causa o argumento de que a dança é sempre
uma manifestação corporal. Embora teoricamente a dança seja definida como sistema
articulado de vários elementos, também é comum enfatizar-se o papel do bailarino para
representar a disciplina. Este artigo propõe rever como têm os coreógrafos resolvido desafios
da migração para diferentes media, mantendo o papel central do corpo para pronunciar
identidade e conhecimento artístico; iremos observar experiências pioneiras que transferiram
a dança teatral para o cinema e criaram danças com novos media que estimulam
interacções sensuais entre humanos e computadores.
ABSTRACT - Although in public common sense and institutional circuits a notion prevails that dance only fulfils its nature as a live art form, several practitioners have explored remarkable and creative endeavours that defy that understanding. Furthermore, stop animation, data processing and motion capture technologies enable choreography to expand beyond the human body, challenging the reasoning that dance must have a corporeal manifestation. While theoretical discussions define dance as a system that combines various elements, they also emphasize the role of performer to represent the discipline. Looking at early experiences that have transferred theatre performance to the cinema and new media dances that encourage sensual human-computer interactions, this article reviews how choreographers resolve the challenges of migration and keep the body as a central medium to articulate artistic knowledge and identity.
ABSTRACT - Although in public common sense and institutional circuits a notion prevails that dance only fulfils its nature as a live art form, several practitioners have explored remarkable and creative endeavours that defy that understanding. Furthermore, stop animation, data processing and motion capture technologies enable choreography to expand beyond the human body, challenging the reasoning that dance must have a corporeal manifestation. While theoretical discussions define dance as a system that combines various elements, they also emphasize the role of performer to represent the discipline. Looking at early experiences that have transferred theatre performance to the cinema and new media dances that encourage sensual human-computer interactions, this article reviews how choreographers resolve the challenges of migration and keep the body as a central medium to articulate artistic knowledge and identity.
Description
Keywords
Corpo Dança Digital Filme Interatividade Media Tecnologia Body Dance Film Interactivity Technology
Pedagogical Context
Citation
Varanda, P. (2016). Migrações: corpos que dançam nos media [Versão eletrónica]. Alicerces: Revista de Investigação, Ciência, Tecnologia e Arte, 6, 197-213.