Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio

Detalhes bibliográficos
Autor(a) principal: Scialom, Melina
Data de Publicação: 2021
Outros Autores: Berto Tescarollo, Isabela
Tipo de documento: Artigo
Idioma: por
Título da fonte: Arte da Cena
Texto Completo: https://revistas.ufg.br/artce/article/view/68645
Resumo: Contemporary dance's diverse poetics has been allowing the development of wide range of investigations about the creative process of this aesthetic practice. Among them lies a questioning about the embodied activities carried out by the dancers that aim to train or prepare the body for the creation process. This paper belongs to this universe that examines the practices that are beyond the technical and creative work centralised within the dance studio. Through the creation of a contemporary dance solo, this paper describes and analyses the activities of performer training and poetic sensitivity developed by the performer in her daily practices, and how they influenced the dramaturgy of the creation. We concluded that the choreography was created through a dramaturgical thinking of organising the intensities and energies generated in the performers' embodied practices. In this way, the discussion developed throughout this paper, associated to the thinking of Behrndt (2016), Scialom e Fabrini (2019), Gouveia (2012), Ostrower (2014) e Louppe (2012) intends to support the decentralisation of the creative process from the dance studio to include the daily routines of the artist-creator as part of the practice of creating a performance, evidencing the procedures used to do so.
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spelling Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studioO Pensar dramatúrgico como chave para descentralizar a criação coreográfica do estúdio de dança.Contemporary dance's diverse poetics has been allowing the development of wide range of investigations about the creative process of this aesthetic practice. Among them lies a questioning about the embodied activities carried out by the dancers that aim to train or prepare the body for the creation process. This paper belongs to this universe that examines the practices that are beyond the technical and creative work centralised within the dance studio. Through the creation of a contemporary dance solo, this paper describes and analyses the activities of performer training and poetic sensitivity developed by the performer in her daily practices, and how they influenced the dramaturgy of the creation. We concluded that the choreography was created through a dramaturgical thinking of organising the intensities and energies generated in the performers' embodied practices. In this way, the discussion developed throughout this paper, associated to the thinking of Behrndt (2016), Scialom e Fabrini (2019), Gouveia (2012), Ostrower (2014) e Louppe (2012) intends to support the decentralisation of the creative process from the dance studio to include the daily routines of the artist-creator as part of the practice of creating a performance, evidencing the procedures used to do so.A poética diversificada da dança contemporânea tem possibilitado o desenvolvimento de uma ampla gama de investigações acerca do processo criativo nesta prática estética. Dentre elas reside um questionamento sobre as atividades corporais realizadas pelos dançarinos para treinar ou preparar o corpo para a criação. Este artigo faz parte deste universo, priorizando as práticas que estão além do trabalho técnico e criativo centralizadas dentro do estúdio de dança. A partir da análise de um processo de criação de um solo em dança contemporânea, este artigo descreve e analisa as atividades de preparação corporal e de sensibilização poética realizadas pela intérprete-criadora em seu cotidiano e o como estas influenciaram a dramaturgia da criação. Concluímos que é através do pensamento dramatúrgico e sua prática de organizar as intensidades e energias geradas nos trabalhos corporais da performer que a coreografia é elaborada. Assim, a discussão realizada ao longo do artigo associada ao pensamento de Behrndt (2016), Scialom e Fabrini (2019), Gouveia (2012), Ostrower (2014) e Louppe (2012), defende a descentralização do processo criativo do estúdio de dança para incluir o cotidiano da artista-criadora como constituinte da criação, evidenciando os procedimentos utilizados para tal.Universidade Federal de Goiás2021-07-29info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.ufg.br/artce/article/view/6864510.5216/ac.v7i1.68645Art on Stage Journal; Vol. 7 No. 1 (2021): Decentering Dance Research (Part II); 253-279Arte da Cena (Art on Stage); v. 7 n. 1 (2021): Descentrar as Pesquisas em Dança (Parte II); 253-2792358-6060reponame:Arte da Cenainstname:Universidade Federal de Goiás (UFG)instacron:UFGporhttps://revistas.ufg.br/artce/article/view/68645/36998Copyright (c) 2021 Melina Scialom, Isabela Berto Tescarollohttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessScialom, MelinaBerto Tescarollo, Isabela2021-07-29T15:19:42Zoai:ojs.revistas.ufg.br:article/68645Revistahttps://www.revistas.ufg.br/artce/PUBhttps://www.revistas.ufg.br/artce/oaiartedacena@gmail.com||2358-60602358-6060opendoar:2021-07-29T15:19:42Arte da Cena - Universidade Federal de Goiás (UFG)false
dc.title.none.fl_str_mv Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
O Pensar dramatúrgico como chave para descentralizar a criação coreográfica do estúdio de dança.
title Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
spellingShingle Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
Scialom, Melina
title_short Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
title_full Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
title_fullStr Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
title_full_unstemmed Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
title_sort Dramaturgical thinking as a key to decentralizing choreographic creation from the dance studio
author Scialom, Melina
author_facet Scialom, Melina
Berto Tescarollo, Isabela
author_role author
author2 Berto Tescarollo, Isabela
author2_role author
dc.contributor.author.fl_str_mv Scialom, Melina
Berto Tescarollo, Isabela
description Contemporary dance's diverse poetics has been allowing the development of wide range of investigations about the creative process of this aesthetic practice. Among them lies a questioning about the embodied activities carried out by the dancers that aim to train or prepare the body for the creation process. This paper belongs to this universe that examines the practices that are beyond the technical and creative work centralised within the dance studio. Through the creation of a contemporary dance solo, this paper describes and analyses the activities of performer training and poetic sensitivity developed by the performer in her daily practices, and how they influenced the dramaturgy of the creation. We concluded that the choreography was created through a dramaturgical thinking of organising the intensities and energies generated in the performers' embodied practices. In this way, the discussion developed throughout this paper, associated to the thinking of Behrndt (2016), Scialom e Fabrini (2019), Gouveia (2012), Ostrower (2014) e Louppe (2012) intends to support the decentralisation of the creative process from the dance studio to include the daily routines of the artist-creator as part of the practice of creating a performance, evidencing the procedures used to do so.
publishDate 2021
dc.date.none.fl_str_mv 2021-07-29
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistas.ufg.br/artce/article/view/68645
10.5216/ac.v7i1.68645
url https://revistas.ufg.br/artce/article/view/68645
identifier_str_mv 10.5216/ac.v7i1.68645
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistas.ufg.br/artce/article/view/68645/36998
dc.rights.driver.fl_str_mv Copyright (c) 2021 Melina Scialom, Isabela Berto Tescarollo
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 Melina Scialom, Isabela Berto Tescarollo
https://creativecommons.org/licenses/by-nc/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Goiás
publisher.none.fl_str_mv Universidade Federal de Goiás
dc.source.none.fl_str_mv Art on Stage Journal; Vol. 7 No. 1 (2021): Decentering Dance Research (Part II); 253-279
Arte da Cena (Art on Stage); v. 7 n. 1 (2021): Descentrar as Pesquisas em Dança (Parte II); 253-279
2358-6060
reponame:Arte da Cena
instname:Universidade Federal de Goiás (UFG)
instacron:UFG
instname_str Universidade Federal de Goiás (UFG)
instacron_str UFG
institution UFG
reponame_str Arte da Cena
collection Arte da Cena
repository.name.fl_str_mv Arte da Cena - Universidade Federal de Goiás (UFG)
repository.mail.fl_str_mv artedacena@gmail.com||
_version_ 1797068726101606400

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