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Dancing There: Spaces of Contemporar...

Bell, Biba Lauren.

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Dancing There: Spaces of Contemporary Choreography.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Dancing There: Spaces of Contemporary Choreography./
作者:	Bell, Biba Lauren.
面頁冊數:	287 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.
Contained By:	Dissertation Abstracts International76-12A(E).
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3716485
ISBN:	9781321953701

Dancing There: Spaces of Contemporary Choreography.
Bell, Biba Lauren.

Dancing There: Spaces of Contemporary Choreography. - 287 p.

Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.

Thesis (Ph.D.)--New York University, 2015.

This dissertation critically examines how contemporary dance and dancing spatializes and is capable of intervening within its disciplinary, architectural, geographic, technical, aesthetic, and corporeal sites. Contemporary choreography's relationship to space is theorized in multiple ways as it relates to geographic mapping, architectural framing, domestic temporalities and rituals, technical training, and phantasmagoric presences. Also an interrogation of dance's proper spaces (the studio, theater, proscenium stage), this dissertation investigates how these settings are (re)produced not only architecturally but as a domestic force within choreographic practice's event of taking place. Closely investigating five specific works by U.S. based artists during the first decade of the 21 st century, this project theorizes dance's outsides through a slightly adjacent, alongside, para movement in space, a spatial adjustment indicative of its contemporaneity, which allows us to consider choreography through an expansion of the stage into its scene, incorporating its contingency and coexisting elements within a broader socio-aesthetic, disciplinary context.

ISBN: 9781321953701Subjects--Topical Terms:

610547
Dance.

Dancing There: Spaces of Contemporary Choreography.
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520 $a This dissertation critically examines how contemporary dance and dancing spatializes and is capable of intervening within its disciplinary, architectural, geographic, technical, aesthetic, and corporeal sites. Contemporary choreography's relationship to space is theorized in multiple ways as it relates to geographic mapping, architectural framing, domestic temporalities and rituals, technical training, and phantasmagoric presences. Also an interrogation of dance's proper spaces (the studio, theater, proscenium stage), this dissertation investigates how these settings are (re)produced not only architecturally but as a domestic force within choreographic practice's event of taking place. Closely investigating five specific works by U.S. based artists during the first decade of the 21 st century, this project theorizes dance's outsides through a slightly adjacent, alongside, para movement in space, a spatial adjustment indicative of its contemporaneity, which allows us to consider choreography through an expansion of the stage into its scene, incorporating its contingency and coexisting elements within a broader socio-aesthetic, disciplinary context.
520 $a Tere O'Connor's Rammed Earth (2007) explores choreography's flexible yet constitutive force in the shaping of architecture, inclusive of temporality and narrative, and his adaptive, liquid, choreographic space exposes dance's co-constitutive relationship in the building of its performative frame. Sarah Michelson's Sophie Davis (2003), set in the bedroom of an opulent Manhattan apartment, choreographically constructs a domestic theater, raising question about dance's affective, immaterial labor within modernity's demarcated spaces of (re)production. The studio succeeds the bedroom as the setting for a primal scene in luciana achugar's The Sublime Is Us (2009), whose choreographic aperture shifts its focus to dance's phenomenological engagement, perceptual training, and aesthetics of the sublime. For his research during Come Home Charlie Patton (2001-2004), Ralph Lemon temporarily disavows the proscenium stage to journey into the American South, engaging the politics of (dance's) home while performing improvisational "counter-memorials" that examine the uneven geographies of race, art, and memory. And, lastly, exposing the temporal stratifications of history embedded within urban, built space, Joanna Haigood and Wayne Campbell's Ghost Architecture (2004) voices narratives of disappearance and dispossession that haunt the effects of gentrification and the culture industry.
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