new draft introduction

AUGUST 20^th 2012 MUCH more to edit still

Practical and theoretical Relationships between Drawing, Dance, Art and Music; benefits of collaboration between artists of different genres.

Introduction:

“Instrumentation is, in music, the exact equivalent of colour in painting”. (Hector Berlioz, date, p.168, Introducing modern music)

This text will begin with a historical lineage of connection between drawing, dance and music.

1) I want to discuss parallels between drawing and dancing; parallels between drawing composition and dance choreography; Presence of line on paper, absence of line in space. Can drawing be described as movement and movement as drawing and which circumstances allow this definition? What happens when drawing is removed from the paper and taken into the realm of performance or music? “I believe that drawing and movement of the body in space can be the same thing..” ARGUE with that statement I just made.

- drawing as a language ? dance as language?

2) Compare dance and music notation to drawings;    

3) explore the potential of counterpoint as a tool for Fine Art, performance (dance and movement) and music.

4) Images of paintings, music-and dance notation, as well as documentation of performances, serve as examples to illustrate some historical and contemporary influence of the genres on each other.

5) I am interested in the idea of the Rhizome, I believe in the interconnectedness of things, concepts and genres. I see reflections of truths of one genre on the receptive space of another.

In my evaluation of the above questions I will explore also these following questions:

6) does drawing become merely a stage tool, craft and technique?

7) Can I make precise definitions? Are they needed? OBJECTIONS: too much waffle, cut it out. + INCLUDE COLLABORATIVE PROCESS benefits!

Text for AFTER history: Does drawing in a performance change it’s status from drawing or can it remain recognizably a drawing without leaving a physical trace? I think the perception of this has changed with the advent of digital technologies that can record traces of movements in space. Refer to Forsythe’s one flat thing project. Is it possible to set out to make a drawing in space, thinking of the movement of bodies as drawing or will this remove value from the performance/drawing?

What remains? What remains of drawing?