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Diss. Stockholm : Stockholms universitet, 2005.

Thesis (doctoral)--University of Stockholm, 2005, in "co-tutelle" with l'Université Paris VIII. / Cover title. Includes bibliographical references (p. 256-264).

Thesis (M.A. in Dance)--Shenandoah University, 2004. / Includes bibliographical references.

Thesis (doctoral)--University of Stockholm, 2005, in "co-tutelle" with l'Université Paris VIII. / Cover title. Includes bibliographical references (p. 256-264).

Revising Yeats's rhetorical question, this dissertation asks: "How can we tell the dancer from the music?" In the early twentieth century Isadora Duncan and her barefoot protégées initiated a performance tradition that would later be recognized as American modern dance. They did this, to a great extent, by embodying European "absolute music." Soon, however, choreographers and dancers of this new art form faced modernist calls for medium-specific "absolute dance" that would express movement's autonomy and not the autonomous music of Bach, Beethoven, and Brahms. As John Martin, one of the nation's first dance critics, wrote in 1933, "There is a long, sad story to be told about the use of music for dancing which was never intended to be danced to." Today that story is even longer; contra Martin, it is not sad. As the use of classical music was a primary component in the earliest forms of "free dance" and as it remains in some of the most critically acclaimed and commercially successful modern dance today, this use is in need of critical and historical attention. Tracing an alternative genealogy from Duncan's then-scandalous embodied empathy with sacralized art music, the central chapters of this study of the use of music in American modern dance focus on the lives, works, and reception of two choreographers: Ted Shawn and Merce Cunningham. Both of these men founded his own dance company and created works where choreomusicality, or the relationship between music and dance, remained especially vital. For Shawn, wishing to go even further than Duncan, this meant creating choreographies where dance followed the music as closely as possible. Indeed, in his "music visualizations" (a term that he coined with his wife and colleague Ruth St. Denis) his goal was to create dances that were perfect translations of the music itself. Such translation is ultimately impossible, and in attempting it, I argue, Shawn ended up revealing more of himself--specifically, his desire to perform a non-conventional masculinity that he normally felt was off-limits--than he did of the music. Reacting against this tradition--the standard history of modern dance goes--was Merce Cunningham, in whose mature choreographies music and dance are united only by their overall duration. Yet Cunningham, under the influence of Cage, created several dances to the music of Satie that provide an illuminating exception to this practice. I focus in particular on Idyllic Song (1944) and Second Hand (1970), both of which Cunningham choreographed to Satie's Socrate. Though created during his artistic maturity, Second Hand provides a link to the earliest self-expressive collaborations with John Cage. As a result, this choreography offers an unusual window into the Cage-Cunningham personal and professional relationship. In examining Shawn's and Cunningham's choreography, this dissertation tracks not only the changing role of Western art music in the relatively young art form of modern dance but also examines these choreographers' responses to contemporary attitudes toward the male dancer, unconventional masculinities, and the relatively new identity of the homosexual. In doing so I demonstrate how the choreomusicalities of these men reflected and refracted their masculinities and homosexualities. In addition to providing choreomusical analysis and interpretation, I revise current understandings of both specific scores and choreographies through intensive archival research (from silent films of Ted Shawn and His Men Dancers, which I have synchronized with their unheard music, to Cage-Cunningham manuscripts ignored or previously thought lost), observation of live and recorded rehearsals and performances, and interviews. Ultimately, "The Dancer from the Music" seeks to establish choreomusicality as an exemplary lens through which to view the meeting of music's ineffability with the realities and identities of listening and performing bodies in motion.

Made available in DSpace on 2016-04-26T18:17:50Z (GMT). No. of bitstreams: 1 Ivani Lucia Oliveira de Santana.pdf: 2443961 bytes, checksum: f17d36c37983e774b197876ea8114232 (MD5) Previous issue date: 2000-11-30 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Corpo Aberto: mídia de carbono, mídia de silício, aborda uma das vertentes da dança contemporânea: a relação do corpo com as máquinas da nova era e, consequentemente, a dança em interação com as novas tecnologias. O pensamento e a obra do coreógrafo americano Merce Cunningham são escolhidos como fio condutor desta dissertação. À luz deste artista torna-se possível identificar alguns dos fatores que propiciaram a emergência deste diálogo entre a dança e as tecnologias. Suas obras propõem sofisticadas interações e as expõem como um trânsito que ocorre no corpo. Cunningham é fundamental para uma nova visão de dança, de arte e, principalmente, de corpo. E é também um pioneiro no uso das novas tecnologias neste campo. Através dele, serão discutidos artistas e obras contemporâneas onde o limite entre corpo de carbono e de silício está borrado. Carbono e silício estão implicados. Corpo Aberto: mídia de carbono, mídia de silício representa um primeiro passo no entendimento desta nova manifestação da dança, dando margem à sua continuidade, que se realizará na pesquisa de doutorado que segue essa, aqui apresentada. Corpo Aberto pertence a um mundo constituído por sistemas abertos, e por signos no sentido empregado por Charles Sanders Peirce. Por esta via percebe-se que todas as coisas no mundo, sendo signos, sistemas abertos, estão em constante troca e transformação na cadeia evolutiva. Portanto, o corpo, ambiente onde ocorre a dança, pode ser entendido como um sistema em interação eco-evolução com o mundo. É impregnado por ele ao mesmo tempo que passa a impregná-lo. Um está implicado no outro. A dança em interação com as tecnologias dos tempos de agora é aqui analisada não como um estilo ou gênero a mais em dança, mas como um reflexo, uma resposta estética da própria evolução do universo. Trata-se de um Corpo Evolutivo

This thesis approaches the personal life, artistic creation and dance technique of American dancer and choreographer Mercier Philip Cunningham. The first part focuses on the artist?s life stages during his evolution in dance from the beginnings of his choreographic work, and seeks the origins for the establishment of his own dance company ? Merce Cunningham Dance Company. A chronological overview of his extensive repertoire is also incorporated. The second part deals with collaboration, connection and interaction among the dance, music, design and film fields during the artistic work of Merce Cunningham. Following the author?s experience with Cunningham technique, the final part is directed to an understanding of this dance technique, its principles and specific elements used in contemporary dance world.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2014. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2014-06-03T15:19:59Z No. of bitstreams: 1 2014_LinaFrazaoCastro.pdf: 3071212 bytes, checksum: 8e38a681a082e36ec3e6f9f60569a6d7 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-06-05T14:29:11Z (GMT) No. of bitstreams: 1 2014_LinaFrazaoCastro.pdf: 3071212 bytes, checksum: 8e38a681a082e36ec3e6f9f60569a6d7 (MD5) / Made available in DSpace on 2014-06-05T14:29:12Z (GMT). No. of bitstreams: 1 2014_LinaFrazaoCastro.pdf: 3071212 bytes, checksum: 8e38a681a082e36ec3e6f9f60569a6d7 (MD5) / As inovações coreográficas do norte-americano Merce Cunningham provocaram um deslocamento no olhar sobre o movimento ao romper com alguns paradigmas básicos na transição entre a dança moderna e a dança contemporânea. Como intérprete-criadora, participei do processo criativo do espetáculo “De Água e Sal” que foi uma forte referência na sistematização de uma ampliação expressiva na atuação cênica do intérprete. Adotando a percepção sensorial abordada pela Educação Somática como eixo principal de reflexão, e também a partir de Cunningham e da experiência em “De Água e Sal”, esta dissertação pretende realizar uma discussão sobre uma experimentação prática em dança, realizada na unidade curricular Práticas Corporais II, ministrada por mim para discentes do segundo semestre no curso de Licenciatura em Dança do Instituto Federal de Brasília. Nesta, aplicou-se com os alunos uma abordagem didática que visava a ampliação da percepção corporal e maiores possibilidades de exploração nas qualidades de movimento, provocando um repensar sobre a dança e promovendo uma ampliação na percepção do movimento corporal. Desenvolvido nesta dissertação, o conceito de corpo em estado de transparência surge então como um resultante situado pela evidência de um corpo que se move conectado pelas sensações e percepções, gerando um mover-se mais visceral e orgânico. ______________________________________________________________________________ ABSTRACT / The innovations of the American choreographer Merce Cunningham led to a displacement on the perspective over movement while breaking some basic paradigms in the transition between modern and contemporary dance. As interpretercreator I took part of the creative process in the show “De Água e Sal” (Of Water and Salt), which was a strong reference in the systematizing of an expressive broadening of the scenic work of the interpreter. By adopting the sensorial perception addressed by Somatic Education as the main axis of reflection, and also based on Cunningham and the experience with “De Água e Sal”, this dissertation aims to discuss a practical experimentation in dance accomplished in the curricular class Bodily Practices II, taught by me to second semester students from the Dance Department at the Federal Institute of Brasilia. During the class a teaching approach was applied on the students aiming to widen bodily perception and provide greater possibilities in exploring the qualities of movement, leading to rethinking dance and promoting a deautomatization of bodily perception. The concept of body in a state of transparency is the result of the evidence of a body that moves connected by sensations and perceptions, generating an authentic, visceral, and organic movement.

Throughout history, dance is a powerful tool for expression of self or community. Art, especially dance, became a way to react to societal shifts and stalemates through means of storytelling. Through my choreography, I used history of modern dance such as the mother of modern dance, Isadora Duncan, an incredibly influential choreographer, Martha Graham, and her famous protege, Merce Cunningham. I used a combination of their methodology to choreograph my intrapersonal journey with dance and life.