Název: Contemporary dance theatre in neurocognitive perspective – Granhøj Dans case
Zdrojový dokument: Theatralia. 2016, roč. 19, č. 2, s. 76-90
Rozsah
76-90
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2016-2-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/135855
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The article 'Contemporary Dance Theatre in Neurocognitive Perspective – Granhøj Dans Case' concerns the description and interpretation of contemporary dance techniques using the example of the method created by Nancy Spanier (USA) and developed by Palle Granhøj (Denmark). The precise description of the performance's creation is presented from the perspective of a dancer taking part in a Granhøj Dans production. The neurocogitive context is then used to prove the director's statement, that the method 'allows the dancers to be more human, less dancers', thus creating a specific 'humanistic' effect in the aesthetics of the performance, which, as it is argued, exists in contemporary dance in general. Therefore, the obstruction technique serves as a valid example for applying cognitive sciences and neurosciences in the field of dance studies.
Reference
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[24] SOFIA, Gabriele. 2014. Towards a 20th Century History of Relationships between Theatre and Neuroscience. Brazilian Journal on Presence Studies 4 (2005) 2: 313–32.
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[27] SZYMAJDA, Joanna. 2013. Estetyka tańca współczesnego w Europie po roku 1990. Kraków: Księgarnia Akademicka, 2013.
[28] ZEKI, Semir. 1999. Inner Vision: An Exploration of Art. And the Brain. Oxford: Oxford University Press, 1999.
[2] BENEDETTO, Steve Di. 2010. The Provocation of the Senses in Contemporary Theatre. New York: Routledge, 2010.
[3] BLÄSING, Bettina, Martin PUTTKE and Thomas SHACK (eds.). 2010. Neurocognition of Dance. Mind, movement and Motor Skills. Hove/New York: Psychology Press, 2010.
[4] CIESIELSKI, Tomasz. 2014. Taneczny umysł. Teatr ruchu i tańca w perspektywie neurokognitywistycznej. Łódź: Wydawnictwo Uniwersytetu Łódzkiego and Instytut Muzyki i Tańca, 2014.
[5] CROSS, Emily S. 2010. Building a Dance in the Human Brain: Insights From Expert and Novice Dancers. In Bettina Bläsing, Martin Puttke, Thomas Schack (eds.). The Neurocognition of Dance. Mind, Movement and Motor Skills. Hove/New York: Psychology Press, Taylor and Francis Group, 2010: 177–202.
[6] FOSTER, Susan Leigh. 2010. Choreographing Empathy. Kinesthesia in Performance. New York: Routledge, 2010.
[7] GALLAGHER, Shaun and Dan ZAHAVI. 2012. The Phenomenological Mind. London/New York: Routledge, 2012.
[8] GALLESE, Vittorio. 2005. Embodied simulation: From neurons to phenomenal experience. Phenomenology and the Cognitive Sciences 4 (2005): 1: 23–48. DOI: 10.1007/s11097–005–4737-z. | DOI 10.1007/s11097-005-4737-z
[9] GELDER VAN, Tim. 1995. What Might Cognition Be, If Not Computation? Journal of Philosophy 92 (1995): 7: 345–81. | DOI 10.2307/2941061
[10] GOODALE, Melvyn A. and David A. WESTWOOD. 2004. An Evolving View of Duplex Vision: Separate But Interacting Cortical Pathways for Perception and Action. Cognitive Neuroscience 14 (2004): 2: 203–11. DOI: 10.1016/j.conb.2004.03.002. | DOI 10.1016/j.conb.2004.03.002
[11] HAGENDOORN, Ivar. 2003. Cognitive Dance Improvisation: How Study of The Motor System Can Inspire Dance (And Vice Versa). Leonardo 36 (2003): 3: 221–7. DOI: 10.1162/002409403321921442. | DOI 10.1162/002409403321921442
[12] HAGENDOORN, Ivar. 2004. Some Speculative Hypotheses About The Nature and Perception of Dance And Choreography. Journal of Consciousness Studies 11 (2004): 3–4: 79–110.
[13] HALPRIN, Anna. 1955. Intuition and Improvisation in Dance. Impuls (1955): 11: 10–2.
[14] JEANNEROD, Marc. 2006. Motor Cognition: What Action Tell the Self. Oxford: Oxford University Press, 2006.
[15] JOLA, Corinne and Ali ABEDIAN-AMIRI, Annapoorna KUPPUSWAMY, Frank E. POLLICK and Marie-Hélène GROSBAS. 2012. Motor Simulation Without Motor Expertise: Enhanced Corticospinal Excitability In Visually Experienced Dance Spectators. Plos One 7 (2012): 3: 1–12.
[16] JOLA, Corinne. 2010. Research and Choreography: Merging Dance and Cognitive Neuroscience. In Bettina Bläsing, Martin Puttke, Thomas Schack (eds.). The Neurocognition of Dance. Mind, Movement and Motor Skills, Hove–New York: Psychology Press, Taylor and Francis Group, 2010: 203–34.
[17] KLIMCZYK, Wojciech. 2010. Wizjonerzy ciała. Panorama współczesnego teatru tańca. Kraków: Korporacja Ha!Art, 2010.
[18] MENARY, Richard. 2010. Introduction to the special issue on 4E cognition. Phenomenology and the Cognitive Sciences 9 (2010): 4: 459–63. DOI: 10.1007/s11097–010–9187–6. | DOI 10.1007/s11097-010-9187-6
[19] PRINZ, Jesse. 2004. Embodied Appraisals. In J. J. Prinz. The Hut Feelings. A Perceptual Theory of Emotion. New York: Oxford University Press, 2004: 52–78.
[20] PRINZ, Jesse. 2006. Is emotion a form of perception? Canadian Journal of Philosophy 36 (2006): 32: 137–60. DOI: 10.1353/cjp.2007.0035. | DOI 10.1353/cjp.2007.0035
[21] RIZZOLATTI, Giacomo, R. CAMARDA, L. FOGASSI, M. GENTILUCCI, G. LUPPINO, M. MATELLI. 1988. Functional organization of inferior area 6 in the Macaque monkey. II. Area F5 and the control of distal movements. Exp. Brain Res (1988): 71: 491–507.
[22] ROSS, Janice. 2007. Anna Halprin. Experience as Dance. Berkeley, Los Angeles: University of California Press, 2007.
[23] SCHACK, Thomas. 2010. Building blocks and architecture of dance. In Bettina Bläsing, Martin Puttke, Thomas Schack (eds.). The Neurocognition of Dance. Mind, Movement and Motor Skills. Hove/New York: Psychology Press, Taylor and Francis Group, 2010: 11–40.
[24] SOFIA, Gabriele. 2014. Towards a 20th Century History of Relationships between Theatre and Neuroscience. Brazilian Journal on Presence Studies 4 (2005) 2: 313–32.
[25] STAMENOV, Maxim I. and Vittorio GALLESE (eds.). 2002. Mirror Neurons and the Evolution of Brain and Language. Amsterdam/Philadelphia: John Benjamins Publishing Co, 2002.
[26] STAMENOV, Maxime I. 2002. Some features that make mirror neurons and human language faculty unique. In Maxim I. Stamenov and Vittorio Gallese (eds.). Mirror Neurons and the Evolution of Brain and Language. Amsterdam/Philadelphia: John Benjamins Publishing Co., 2002: 249–72.
[27] SZYMAJDA, Joanna. 2013. Estetyka tańca współczesnego w Europie po roku 1990. Kraków: Księgarnia Akademicka, 2013.
[28] ZEKI, Semir. 1999. Inner Vision: An Exploration of Art. And the Brain. Oxford: Oxford University Press, 1999.