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Reclaiming the dancer: Embodied perc...

Arizona State University.

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Reclaiming the dancer: Embodied perception in a dance performance.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Reclaiming the dancer: Embodied perception in a dance performance./
作者:	Roses-Thema, Cynthia Ann.
面頁冊數:	179 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1445.
Contained By:	Dissertation Abstracts International68-04A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3258157

Reclaiming the dancer: Embodied perception in a dance performance.
Roses-Thema, Cynthia Ann.

Reclaiming the dancer: Embodied perception in a dance performance. - 179 p.

Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1445.

Thesis (Ph.D.)--Arizona State University, 2007.

This dissertation is a interdisciplinary study that theorizes for the first time the dancer as rhetor. Applying the theoretical construct of a rhetorical situation onto a dance performance, this study captured the embodied perceptual practices of the dancer as a rhetor during several theatrical performances. Using a combined methodology of ethnography and interpretive phenomenology, this study collected multiple forms of data to analyze the experiences of three graduate dancers in four dance performances. The data were analyzed for interoception, exteroception, and proprioception, and sorted for instances of intuition, imagination, and sensation. A rhetorical framework composed of a logic of articulation and the concept of metis was applied to the results. The logic of articulation is a productive model that theorizes the play of Derridian differance during a rhetorical situation. Metis is a concept denoting embodied knowledge in use which provided a framework to understand the dancer's embodied landscape. Transferring the logic of articulation to a theatrical performance destabilizes boundaries that were once assumed solid such as dancer, choreographer, and audience and opens the dancers to the consequences of being interactive and reflexive to each other during the continuous flow and action of the performance. The results demonstrate the dancer as rhetor negotiated the logic of articulation along three avenues: among dancer, choreographer, and audience; among interoception, exteroception and proprioception; and among the performance strategy, the experience of metis, and the performance outcome. Theorizing the dancer as rhetor empowers the dancer's perspective and demonstrates the importance of the embodied perspective to contemporary rhetorical and dance theorizing.Subjects--Topical Terms:

610547
Dance.

Reclaiming the dancer: Embodied perception in a dance performance.
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520 $a This dissertation is a interdisciplinary study that theorizes for the first time the dancer as rhetor. Applying the theoretical construct of a rhetorical situation onto a dance performance, this study captured the embodied perceptual practices of the dancer as a rhetor during several theatrical performances. Using a combined methodology of ethnography and interpretive phenomenology, this study collected multiple forms of data to analyze the experiences of three graduate dancers in four dance performances. The data were analyzed for interoception, exteroception, and proprioception, and sorted for instances of intuition, imagination, and sensation. A rhetorical framework composed of a logic of articulation and the concept of metis was applied to the results. The logic of articulation is a productive model that theorizes the play of Derridian differance during a rhetorical situation. Metis is a concept denoting embodied knowledge in use which provided a framework to understand the dancer's embodied landscape. Transferring the logic of articulation to a theatrical performance destabilizes boundaries that were once assumed solid such as dancer, choreographer, and audience and opens the dancers to the consequences of being interactive and reflexive to each other during the continuous flow and action of the performance. The results demonstrate the dancer as rhetor negotiated the logic of articulation along three avenues: among dancer, choreographer, and audience; among interoception, exteroception and proprioception; and among the performance strategy, the experience of metis, and the performance outcome. Theorizing the dancer as rhetor empowers the dancer's perspective and demonstrates the importance of the embodied perspective to contemporary rhetorical and dance theorizing.
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