1 - 1 of 1
rss atomLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
  • Public defence: 2020-02-07 13:00 Studio 16, DOCH, School of Dance and Circus, Stockholm
    Rojo, Paz
    Stockholm University of the Arts, Dance Department.
    The decline of choreography and its movement: a body's (path)way2019Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This doctoral artistic research project addresses the possibility of a dance withdrawn from that neoliberal scheme accordingto which self-performance, entrepreneurship and the production of subjectivity rule. Taking as a starting point the dissidentcorporealities that have emerged in the last fifty years in Western contemporary experimental dance; the project involvesaesthetic, philosophical and socio-political perspectives, carried out on choreographic, performative, textual, audiovisual,curatorial and discursive media.In late capitalism dance's commitment with the future (or its lack thereof) must find alliances with potentiality andnothingness. This is not a nihilistic affirmation, but an attempt to enable an interval: a dance whose value has to beapprehended there, where it is already happening. Kafka said that "one might have a goal, but not a pathway". The pathwayinvolves a decisive cognition such that cannot be carried out without one becoming the path itself; without defying so tospeak, the relationship of the dancer with dance itself. It is not about what the dancer can do, say or communicate in respectto dance, but what dance accounts for in itself. In modern's kinetic exhaustion, the latter is possible approaching dance as apresence-in-crisis. The semantic field of the word "crisis" and its associated words, –critical judgment, decision andseparation–, defines the moment when something or someone has somehow one foot outside. The moment when onerealizes that it is not the world that ends, but the linguistic constructions and the reality systems that had made sense untilthen. This proposal tries to embody that gap. It tries to reveal the somatic, kinetic, political and aesthetic implicationswhereby to dance on a limit that is both inaugural and terminal. Decisive. Although “deciding” will always be not knowingwhat will happen. It is a dance that, although it does not seem to mean anything, it does something. The moment at whichdance let's go of being a product (a goal), to become a deposition. "Deposition" is a word that includes both, anabandonment and a position. At the same time, to take on a position implies a becoming: a (path)way through which thedancer coincides with dance's conditions. The moment at which the dancer abandons any intention to communicate, topropose or to interpret dance, to carry out kinetically and perceptually the non-significant, ephemeral, ineffable andimpersonal conditions that dance implies as a presence-in-crisis. In short, the coincidence “dancer : dance” implies takinginto account an experience of dance freedom that is fugitive. In the theatre apparatus, it involves a dancing which ―bylacking recognizable aims, signs and subjects― gives way to an aesthetic paradigm which is not be construed as aparticular kind of thing (a performance, a type of dancer, a subject, or even a social or artistic process), but rather as a gap'sembodied experimentation. A threshold, a curve. A parenthesis. An eclipse. A void: the encounter with something whichdoesn't need to be produced, because it is already happening.

v. 2.35.9