This article examines the impact of the presence of the human body on how we perceive dance art. It first establishes two basic layers of expressiveness in dance: A natural expressiveness provided by the presence of the real body, and an artistic expressiveness articulated by the choreographed body. It then considers the different dance personas linked to these levels of expressiveness and the strategies choreographers use to create dance works to make human and non human representations and references. This is followed by a discussion about audiences’ experiences of the (physical and emotional) presence of the human body in dance performances and a definition of appropriate artistic appreciation of dance works
This paper discusses some of the means through which non-representational imagery in dance, and in p...
In this chapter I place embodiment and the corporeal body as central to examination. I argue that th...
Philosophers of art draw a distinction between two broad sets of concerns: questions about aesthetic...
We create music and dance with the body and perceive both through it. The performer's body is moulde...
We create music and dance with the body and perceive both through it. The performer's body is moulde...
The article makes a reflection about the relevance of the voice perceived as body in movement. This ...
Humans were expressing their needs and emotions in movement far before developing speech or any othe...
The article makes a reflection about the relevance of the voice perceived as body in movement. This ...
The performativity of dance relies on the the power that different dance practices and choreographie...
Dance as art has been philosophically characterized as involving the natural expressivenes...
Dance as art has been philosophically characterized as involving the natural expressivenes...
Dance as art has been philosophically characterized as involving the natural expressivenes...
The dance installs in the body another scene of senses that raises the creative performance and not ...
The dance installs in the body another scene of senses that raises the creative performance and not ...
Dance consists of a dancer’s sensory experience as well as her/his inner experience. On the ot...
This paper discusses some of the means through which non-representational imagery in dance, and in p...
In this chapter I place embodiment and the corporeal body as central to examination. I argue that th...
Philosophers of art draw a distinction between two broad sets of concerns: questions about aesthetic...
We create music and dance with the body and perceive both through it. The performer's body is moulde...
We create music and dance with the body and perceive both through it. The performer's body is moulde...
The article makes a reflection about the relevance of the voice perceived as body in movement. This ...
Humans were expressing their needs and emotions in movement far before developing speech or any othe...
The article makes a reflection about the relevance of the voice perceived as body in movement. This ...
The performativity of dance relies on the the power that different dance practices and choreographie...
Dance as art has been philosophically characterized as involving the natural expressivenes...
Dance as art has been philosophically characterized as involving the natural expressivenes...
Dance as art has been philosophically characterized as involving the natural expressivenes...
The dance installs in the body another scene of senses that raises the creative performance and not ...
The dance installs in the body another scene of senses that raises the creative performance and not ...
Dance consists of a dancer’s sensory experience as well as her/his inner experience. On the ot...
This paper discusses some of the means through which non-representational imagery in dance, and in p...
In this chapter I place embodiment and the corporeal body as central to examination. I argue that th...
Philosophers of art draw a distinction between two broad sets of concerns: questions about aesthetic...