'And then again, I draw myself to the detail' Capturing experiential states in contemporary dance making through Expanded Fields
'And then again, I draw myself to the detail' Capturing experiential states in contemporary dance making through Expanded Fields
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“然后，我再次关注细节”通过扩展领域捕捉当代舞蹈制作的体验状态
DOI：
10.1080/13528165.2021.2005955
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发表时间：
2022
影响因子：
0.1
通讯作者：
Gibson R
中科院分区：
文献类型：
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作者：
Gibson R
本文阐述了作品《扩展的领域》的创作过程和概念推动力；这是一个集现场表演、声音和虚拟现实于一体的动态图像装置，于 2019 年 11 月在利默里克市艺术画廊首次展出。该作品强调了多重过滤器，通过这些过滤器，观众可以遇到舞蹈作品，使用一系列不同的媒体邀请观众与舞者的动作进行不同程度的接近。合著者 Ruth Gibson 和 Jenny Roche 将与艺术家 Bruno Martelli、作曲家 Mel Mercier 以及舞者 Kévin Coquelard、Henry Montes 和 Ursula Robb 进行的合作结合起来，并阐明了用于创作作品的处理工具的应用。他们借鉴了这些合作者在制作过程中的经验以及所有参与作品开发的人员制作的材料的贡献。处理工具包括微观现象学访谈（MPI）、动作发起写作、斯金纳释放技术（SRT）、动作捕捉、电影制作和录音。这些方法交织在一起，揭示了在跳舞或观看舞蹈作品时可以访问的体验层的挂毯。将它们放在画廊安装空间中，并通过情景现场表演将这些视角扎根，让这些材料能够通过各种感官框架来体验，从沉浸式虚拟现实环境（舞者的化身靠近观众的身体），到门厅空间，可以在电视屏幕上观看舞者在工作室排练的镜头。这篇文章将这项创造性工作与理论家的著作联系起来，例如特雷莎·布伦南（Teresa Brennan）关于情感的文章和安德烈·莱佩基（André Lepecki）关于德里达轨迹概念的文章，同时阐明了 SRT 和 MPI 之间的潜在一致性。
This article illustrates the creative process and conceptual impetus for the development of the pieceExpanded Fields; a moving image installation with live performance, sound and virtual reality which was first presented in the Limerick City Gallery of Art in November 2019. The work highlights multiple filters through which the audience can encounter a piece of choreography, using a range of different media to invite the viewer into various degrees of proximity with the dancers in movement. Co-authors Ruth Gibson and Jenny Roche contextualise this collaboration undertaken with artist Bruno Martelli, composer Mel Mercier and the dancers, Kévin Coquelard, Henry Montes and Ursula Robb and articulate the application of process tools utilised to create the work. They draw on contributions from these collaborators on their experience of the making process as well as through materials produced by all involved in the development of the piece. The process tools included Micro-phenomenological Interviewing (MPI), movement initiated writing, Skinner Releasing Technique (SRT), motion capture, filmmaking and audio recordings. These methods were interwoven to reveal the tapestry of experiential layers that can be accessed when dancing or viewing a piece of dance. Placing them together within a gallery installation space and grounding these perspectives through episodic live performance, allowed the material to be encountered through various sensorial frames, from the immersive VR environment where the avatars of the dancers moved close to the viewer’s body, to the foyer space where footage of the dancers from studio rehearsals could be viewed on tv screens. The article situates this creative work in relation to writing by theorists such as Teresa Brennan on affect and André Lepecki on Derrida’s notion of the trace, alongside articulating potential alignments between SRT and MPI.