reference book: Abwesenheit, eine performative Ästhetik des Tanzes; William Forsythe, Jerome Bel, Xavier Le Roy, Meg Stuart. (written by Gerald Siegmund, 2006, publisher: Transcript)
The bodies of dancers are exhibited by Jerome Bel and Xavier le Roy; deforming them, reducing each movement to it's function.
The movements of William Forsythe and Meg Stuart are no longer beautiful in a classical sense. Forsythe became increasingly radical since the 1990's, confusing the audience. p.09
Q: what does it mean to dance on stage in front of the audience and to watch dance from the auditorium? [Dance and cultural themes that make apparent the engagement / argument between radical contemporary dance & the Christian body image] p.09
Abwesenheit: empty space, use of the body, separation of hearing and seeing, where in each case one parameter is made absent. The stage scene receives significant gaps / absences spurring the self imagination of the audience. P.10
The bodies of dancers are exhibited by Jerome Bel and Xavier le Roy; deforming them, reducing each movement to it's function.
The movements of William Forsythe and Meg Stuart are no longer beautiful in a classical sense. Forsythe became increasingly radical since the 1990's, confusing the audience. p.09
Q: what does it mean to dance on stage in front of the audience and to watch dance from the auditorium? [Dance and cultural themes that make apparent the engagement / argument between radical contemporary dance & the Christian body image] p.09
Abwesenheit: empty space, use of the body, separation of hearing and seeing, where in each case one parameter is made absent. The stage scene receives significant gaps / absences spurring the self imagination of the audience. P.10
With the term ‘absence’
it’s counterpart: presence is evoked. Can not been seen separate from each
other.
“The engagement
with ‘absence’ also: to open a space in Art, in which the subject is no longer
reflected, doesn’t encounter itself as self but as other” p.11
(Lacan theory of
split subject of the unconscious)?
“The dancing body
appears thus as desiring body, that is simultaneously in relation with: The
symbolic, the imaginary & the real” p.11
