Composicion danza2

Capitulo 1- Composición coreográfica

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(Fig. 1 Notación de pasos de ballet, Raoul- Auger Feuillet, 1700

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1 En el ballet son: Plegar o doblar, elevar o estirar, saltar, es un tipo de brinco, caer,

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2 Dixon Steve, Digital Performance, a history of new media in theater, dance, performance art, and installation, Leonardo Books, USA, 2007,¨Schlemmer took narrative, spatial and

choreographic abstraction to new heights during the 1920s.He designed robotic costumes

for the Futuristic dance The Triadic Ballet (1922); utilized mechanical devices to move flat,

metallic figures rapidly around the stage on wires; and enclosed female performer´s head

and hands in science- fiction-style silver spheres for Metal Dance(1929), staged within a

corrugated tin-plate set. Schlemmer also prefigured ideas of avatars and artificially

intelligent robots in his plans to create an artificial figure (Kunstfigure) without wires.pág.39

(T.A)


27

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28

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(Fig. 3 Danza Serpentina 1896, de Loie Fuller

(

V-0+(9&$,+(8+(9.$-$%0E('"%(."9+(#<5(+#98&+(5('"%(/+-0"%$-(8+.H"-(

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3 Ibidem, pág. 39, 40¨ Dance, ostensibly that most nakedly corporeal of all performance

forms. Has similarly been conceptualized as a continually evolving technological praxis.The

dancer Loíe Fuller provide an interesting example, undertaking some extraordinary

experiments from 1889 with the then new technology of electricity. (T.A)


29

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!

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4 Cunningham, Merce (Tomado de la página web de Credo Interactive Inc. quienes

comercializan el software Life Forms) Disponible en: www.credo-interactive.com/ (Consulta:

7 enero 2011)"...Life Forms is not revolutionizing dance but expanding it, because you see

movement in a way that was always there - but wasn't visible to the naked eye."

(Traducción del autor)


30

'"#9"-&'&"%$-( '".$"H.M?&'+-I( '"8+/".E( 0+#/&@%( '"%( A;$( >9$%(

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9."H.+#+()$(&%0$8&H$%'&+(+.0&?&'&+8(J+.P+($%('+)+(+'0<+'&E%(-$HW%($8(

5Cunningham bailando Loops como parte de Evento #164, abril 1976, Tokyo, Disponible

en: http://openendedgroup.com/index.php/artworks/loops-2001-present/cunningham-

choreography/performance-excerpt/ (Consulta 7 enero 2011) 6 Loops, Disponible en: http://openendedgroup.com/index.php/artworks/loops-2001-

present/cunningham-choreography/performance-excerpt/ (Consulta 10 de enero 2011)


31

-"%&)"( 5( -$#M%0&'+( )$( 8+( %+..+'&E%( )$8( &%[email protected].$0$=( T"#"( $-0+(

)+%,+(-$(&%0$.9.$0+/+($%(J&J"(5()&.$'0"I(0+#/&@%(8+("/.+()&H&0+8(0+8(

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Fig. 4 Loops, 2008, Merce Cunningham

(

V%(8"(D<$(-$(.$?&$.$(+(8+(9+.0$()$8(-"%&)"()$($-0+(#&-#+("/.+((-$(

/<-'+/+%( $%'"%0.+.( $-0.<'0<.+-( $%( $8( 0$K0"( D<$( 0<J&$.+%( <%+(

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32

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(

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#<$-0.+($%(8+(&#+H$%()$(+/+N"=((

(

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(Fig. 5 Life Forms, visualizando el movimiento

(

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#$0+=(

(


33

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8"H.+.($-"-(#"J&#&$%0"-=(

Fig. 6 Trackers, 1991, Merce Cunningham

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34

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#+5".(-$%0&)"(8W)&'"=( 7 Merce Cunningham, in conversation with John Rockwell, (en línea) Disponible

en:http://prelectur.stanford.edu/lecturers/cunningham/ (Consulta: 5 de febrero 2011).

¨I like to produce movement that seems out of range, to enlarge the range and add things to

other

movement can be. The computer has opened it up to me. It has broadened what I think of

as possible in dance¨(Traducción del autor).


35

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37

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&)$+-=( *$."( $8( -$%0&#&$%0"( D<$( 0$%H"( '<+%)"( '"#9"%H"( )$( $-0+(

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)$( #&( 9.M'0&'+I( ".HM%&'+#$%0$( -<.H&$%)"( ?<$.+( )$( 8"-( &#9<8-"-(

#"0".$-k9=( 9 Merce Cunningham in conversation with John Rockwell (en línea) Disponible en

http://prelectur.stanford.edu/lecturers/cunningham/, (Consulta 18 abril 2011). ¨When I

choreograph a piece by tossing pennies by chance, that is I am finding my resources

in that play, which is not the product of my will, but which is an energy and a law which I

too obey. Some people seem to think that it is inhuman and mechanistic to toss pennies

in creating a dance instead of chewing the nails or beating the head against a wall or

thumbing through old notebooks for ideas. But the feeling I have when I compose in this

way is that I am in touch with a natural resource far greater than my own personal

inventiveness could ever be, much more universally human than the particular habits of

my own practice, and organically rising out of common pools of motor

impulses.¨(Traducción del autor).


38

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10 Leeschaeve, Jacqueline, Merce, Cunnigham in conversation with Jaqueline Lesschaeve,

the Dancer and the Dance, Marions Boyars New York-London 1991.págs. 20, 22.¨There are

sixty-four phrases, because that´s the number of hexagrams in the I Ching. .The phrases

are formed like the numbers themselves At sixty-four, you have sixty-four weight

I numbered the space with sixty-four squares

space chart and a movement chart, both in sixty-

see what to do. That´s how those trios and duets appear in the piece.(T. A)


39

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