Dance Analysis - Technique within contemporary dance E-Book

Kathryn Hughes

• Herausgeber: GRIN Verlag
• Sprache: Englisch

Veröffentlichungsjahr: 2013

Beschreibung

Bachelor Thesis from the year 2011 in the subject Theater Studies, Dance, grade: 1st, University Of Wales Institute, Cardiff, course: BA (Hons) Dance, language: English, abstract: This study investigates, through a detailed movement analysis of several choreographic works, whether Hofesh Shechter has created a new technique within contemporary dance today. The analysis utilises elements from both Adshead’s (1988) model for movement analysis and Stinson’s (2006) model for choreography: however adapting elements to consider the form and provide an evaluation through an external observation. In conclusion this study has revealed that irrespective of era; ‘Art cannot be divorced from life – it is of life’s essence. The central subject matter of all art is emotional value not fact. The art which expresses emotional values in movement is dance. So to dance one must study and explore and know movement’ H’Doubler (1998, pxxix)

Leseprobe

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Table of Contents

1.0 Extended introduction

1.1 Influx of Modern Dance

1.2 Technique

1.3 Background of Hofesh Shechter

1.4 Hofesh Schechter’s perceived language of movement

2.0 Research Process

2.1 Hypothesis

2.2 Justification for Research

2.3 Research Design

2.4 Analysis

2.5 Process

3.0 Critical Review

3.1 Movement Analysis of Hofesh Shechter’s Choreographic Work

3.2 Discussion of the Movement Analysis Findings

4.0 Explicit Summary

5.0 References

5.1 Books

6.0 Table of Analysis

Acknowledgement

I owe my deepest gratitude to Sally Varrall for her continued support, guidance and encouragement throughout. I would also like to make special reference to my parents as without them the completion of this thesis would not have been possible.

Abstract

This study investigates, through a detailed movement analysis of several choreographic works, whether Hofesh Shechter has created a new technique within contemporary dance today. The analysis utilises elements from both Adshead’s (1988) model for movement analysis and Stinson’s (2006) model for choreography: however adapting elements to consider the form and provide an evaluation through an external observation.

In conclusion this study has revealed that irrespective of era;

 ‘Art cannot be divorced from life – it is of life’s essence. The central subject  matter of all art is emotional value not fact. The art which expresses  emotional values in movement is dance. So to dance one must study and  explore and know movement’

CHAPTER ONE EXTENDED INTRODUCTION

1.0 Extended introduction

1.1 Influx of Modern Dance

Towards the latter part of the nineteenth century, due to the popular ballet productions relying ‘more on scenic effects than on actual dancing’, other new and exciting forms of dance were emerging (Cohen, 1992, p118). Two pioneers influencing the early materialisation of modern dance were Loïe Fuller and Isadora Duncan. Cohen (1992, p119) explains that Fuller, a minor, unsuccessful actress experimented with electric lighting, she did not possess a particular technique, but ‘she created a novel form of movement and revealed a tremendous potential for dance in the imaginative uses of lighting’. Cohen (1992, p119) expresses Duncan’s disapproval of ballet which she stated was ‘unnatural and harmful in its system of training, empty and unworthy in its theatrical form’ as she believed that ‘movement must spring from within’, coming from the instincts of the spirit. Although Duncan had a very specific approach, due to the reliance on ‘individual sensitivity’, no formal ‘technique’ was established (Cohen, 1992, 119).

The most instrumental flurry of pioneers in modern dance were Martha Graham, Doris Humphrey, and Charles Weidman who emerged in the early twentieth century following their departure from the Denishawn Company; which  is recognised as ‘the first “modern” dance company’ (Lewis, 1999, p14).  Lewis (1999, p14) states that these three pioneers each envisaged further possibilities for movement, all wanting to ‘pursue their individual ideals, to develop new subjects for choreography and, eventually, new vocabularies of movement’. Furthermore they strongly believed that ‘dance could and should express themes more directly connected to their lives, to their own heritage as Americans’ (Lewis, 1999, p14), in contrast to the Denishawn Company, who’s inspiration for movement derived from ‘ethnic and folk dances from around the world’ (Lewis, 1999, p14).