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Ten international dramaturg-scholars advance proposals that reset
notions of agency in contemporary dance creation. Dramaturgy
becomes driven by artistic inquiry, distributed among collaborating
artists, embedded in improvisation tasks, or weaved through
audience engagement, and the dramaturg becomes a facilitator of
dramaturgical awareness.
Ten international dramaturg-scholars advance proposals that reset
notions of agency in contemporary dance creation. Dramaturgy
becomes driven by artistic inquiry, distributed among collaborating
artists, embedded in improvisation tasks, or weaved through
audience engagement, and the dramaturg becomes a facilitator of
dramaturgical awareness.
Performance generating systems are systematic and task-based
dramaturgies that generate performance for or with an audience. In
dance, such systems differ in ways that matter from more closed
choreographed scores and more open forms of structured
improvisation. Dancers performing within these systems draw on
predefined and limited sources while working on specific tasks
within constraining rules. The generating components of the systems
provide boundaries that enable the performance to self-organize
into iteratively shifting patterns instead of becoming repetitive
or chaotic. This book identifies the generating components and
dynamics of these works and the kinds of dramaturgical agency they
enable. It explains how the systems of these creations affect the
perception, cognition and learning of dancers and why that is a
central part of how they work. It also examines how the combined
dramaturgical and psychological effects of the systems
performatively address individual and social conditions of trauma
that otherwise tend to remain unchangeable and negatively impact
the human capacity to learn, relate and adapt. The book provides
analytical frameworks and practical insights for those who wish to
study or apply performance generating systems in dance within the
fields of choreography and dance dramaturgy, dance education,
community dance or dance psychology. Featured cases offer unique
insight into systems created by Deborah Hay and Christopher House,
William Forsythe, Ame Henderson, Karen Kaeja and Lee Su-Feh.
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This international collection brings together scientists, scholars
and artist-researchers to explore the cognition of memory through
the performing arts and examine artistic strategies that target
cognitive processes of memory. The strongly embodied and highly
trained memory systems of performing artists render artistic
practice a rich context for understanding how memory is formed,
utilized and adapted through interaction with others, instruments
and environments. Using experimental, interpretive and
Practice-as-Research methods that bridge disciplines, the authors
provide overview chapters and case studies of subjects such as: *
collectively and environmentally distributed memory in the
performing arts; * autobiographical memory triggers in performance
creation and reception; * the journey from learning to memory in
performance training; * the relationship between memory, awareness
and creative spontaneity, and * memorization and embodied or
structural analysis of scores and scripts. This volume provides an
unprecedented resource for scientists, scholars, artists, teachers
and students looking for insight into the cognition of memory in
the arts, strategies of learning and performance, and
interdisciplinary research methodology.
This international collection brings together scientists, scholars
and artist-researchers to explore the cognition of memory through
the performing arts and examine artistic strategies that target
cognitive processes of memory. The strongly embodied and highly
trained memory systems of performing artists render artistic
practice a rich context for understanding how memory is formed,
utilized and adapted through interaction with others, instruments
and environments. Using experimental, interpretive and
Practice-as-Research methods that bridge disciplines, the authors
provide overview chapters and case studies of subjects such as: *
collectively and environmentally distributed memory in the
performing arts; * autobiographical memory triggers in performance
creation and reception; * the journey from learning to memory in
performance training; * the relationship between memory, awareness
and creative spontaneity, and * memorization and embodied or
structural analysis of scores and scripts. This volume provides an
unprecedented resource for scientists, scholars, artists, teachers
and students looking for insight into the cognition of memory in
the arts, strategies of learning and performance, and
interdisciplinary research methodology.
Performance generating systems are systematic and task-based
dramaturgies that generate performance for or with an audience. In
dance, such systems differ in ways that matter from more closed
choreographed scores and more open forms of structured
improvisation. Dancers performing within these systems draw on
predefined and limited sources while working on specific tasks
within constraining rules. The generating components of the systems
provide boundaries that enable the performance to self-organize
into iteratively shifting patterns instead of becoming repetitive
or chaotic. This book identifies the generating components and
dynamics of these works and the kinds of dramaturgical agency they
enable. It explains how the systems of these creations affect the
perception, cognition and learning of dancers and why that is a
central part of how they work. It also examines how the combined
dramaturgical and psychological effects of the systems
performatively address individual and social conditions of trauma
that otherwise tend to remain unchangeable and negatively impact
the human capacity to learn, relate and adapt. The book provides
analytical frameworks and practical insights for those who wish to
study or apply performance generating systems in dance within the
fields of choreography and dance dramaturgy, dance education,
community dance or dance psychology. Featured cases offer unique
insight into systems created by Deborah Hay and Christopher House,
William Forsythe, Ame Henderson, Karen Kaeja and Lee Su-Feh.
Over the past ten years the generally accepted understanding of
human memory has shifted radically, reflecting popularized
articulations of recent advances in the cognitive sciences. While
the relationship between cultural memory and theatre has been
addressed extensively? particularly in Canada?questions of how the
dynamics and mechanics of memory inform and act on creative
strategies in Canadian dance, performance, and theatre have rarely
been raised. This issue of CTR is a response to a junction between
this perceived shift in understanding and a growing body of
Canadian performance projects that involve artistic questions and
strategies of memory. In these projects ? and in these articles ?
simplistic and outdated understandings of memory are challenged and
split open by practices that are acutely aware of memory as a
complex process that affects artists and audiences in multiple
ways. These essays and performance documents offer inspiration to
imagine what both artistic and scholarly exploration of memory in
theatre, performance, and dance can lead to in terms of creative
strategies and understandings of how performance acts.
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