The gravity force and the origin of the movement
Main Article Content
Keywords
gravity force; resistance and yielding; supportative medium; surrounding medium; body center.
Abstract
In the center of a performing action we find the relation established between body and gravity force. The resistance or surrender to this force, the investigation of its power over movement and the presence of gravitational illusion in other multidisciplinary artistic productions are the reasons for this study/reflection.We will explore the moments when the body raises and moves or find orientation, precisely when it resists gravity, when it negotiates with the force or when it becomes aware of its own proprioception. In the diversity of support surfaces - where the body rests, grabs, hangs, jumps or slides - we find a creative potential resulting from the relation of resistance towards the gravity force established by the body with these surfaces, in a precise moment. We will also present the surrounding means that have the potential to radically transform movement and its relation with gravity. Finally, we will return to the body and its core where we will find movement’s primordial impulse.
References
Bailey, E. (2012). Mari Mori and Pipilotti Rist: Reflections on the “new levity” in arts. In M. Edwards & E. Bailey (Eds.), Gravity in arts: Essays on weight and weightlessness in painting, sculpture and photography (pp. 338-341). Jefferson: MacFarland & Company, Inc., Publishers.
Banes, S. (1987). Terpsichore in sneakers: Post-modern dance. Wesleyan: Wesleyan University Press.
Copeland, R. (2004). Merce Cunningham: The modernizing of modern dance. New York: Routledge.
Crespo, F. (1988). A justification for the inclusion of the strands of the dance medium in dance analysis. Master of Arts in Dance Studies – thesis. Laban Centre for Movement and Dance, London.
Daly, A. (1995). Done into dance: Isadora Duncan in America. Bloomington: Indiana University Press.
Delaumosne, L’Abbé (1893). Delaumosne on Delsatre. In Delsarte system of oratory (pp. xiii- 170). New York: Edgar S. Werner.
Dempster, E. (2010). Women writing the body: let’s watch a little how she dances. In A. Carter and J. O’Shea (Eds.), The Routledge dance studies reader (pp. 229-235). Oxon: Routledge.
Duncan, I. (1928). Ma vie. Paris: Librairie Gallimard.
Dzenko, C. (2012). Photographic moments inside of gravity: Kerry Skarbkka’s struggle to right himself. In M. Edwards & E. Bailey (Eds.), Gravity in arts: Essays on weight and weightlessness in painting, sculpture and photography (pp. 326-337). Jefferson: MacFarland & Company, Inc., Publishers.
Feldenkrais, M. (1987). Awareness through movement: Health exercises for personal growth. Harmondsworth: Penguin Books Ltd.
Foster, S. (2011). Choreographing Empathy. London: Routledge. iBooks.
Graham, M. (1991). Blood Memory. New York: Doubleday.
Hardt, Y. and Sander, V. (2014). Understanding the body/movement. In I. Diehl, F. Lampert (Eds.), Dance techniques 2012: Tanzplan Germany (pp. 250-255). Leipzig: Henschel Verlag in der Seemann Henschel GmbH & Co. KG.
Hutchison, A. (1977). Labanotation or Kinetography Laban: The system of analyzing and recording movement. New York: Theatre Arts Books.
Jowitt, D. (2010). In pursuit of the sylph: ballet in the Romantic period. In A. Carter and J. O’Shea (Eds.), The Routledge dance studies reader (pp.209-219). Oxon: Routledge.
Juhan, D. (1998). Job’s Body. New York: Station Hill.
Kaltenbrunner, T. (2004). Contact improvisation: Moving - dancing – interaction. Oxford: Meyer und Meyer
Kleist, H. (2009). Sobre o teatro das marionetas e outros escritos. Lisboa: Antígona.
Kolodziej, M. (2012). From vertigo to ethereality in environmental art. In M. Edwards &. Bailey(Eds.), Gravity in arts: Essays on weight and weightlessness in painting, sculpture and photography (pp. 293-303). Jefferson: MacFarland & Company, Inc., Publishers.
LaMothe, K. (2006). Nietzsche’s Dancers: Isadora Duncan, Martha Graham, and the revaluation of Christian values. New York: Palgrave MacMilan.
Laws, K. (2002). Physics and the art of dance: Understanding movement. Oxford: Oxford University Press.
Maletic, V. (1987). Body-space-expression: The development of Rudolf Laban’s movement and dance concepts. Berlin: Mouton de Gruyter.
Novack, C. (1990). Sharing the Dance: Contact Improvisation and American Culture. Madison: University of Wisconsin Press.
Siegmund, G. & van Dijk, A. (2014). Introduction: The difficulty of running. In I. Diehl & F. Lampert (Eds.), Dance techniques 2010: Tanzplan Germany (pp. 66-69). Leipzig: Henschel Verlag in der Seemann Henschel GmbH & Co. KG.
Sparshott, F. (1995). A measured pace: Towards a philosophical understanding of the arts of the dance. Toronto: University of Toronto Press.
Stebbins, G. (1887). Delsarte system of expression. New York: Edgar S. Werner.
Straus, W. (1966). The upright posture. In M. Natson (Ed.), Essays in Phenomenology (pp. 169-192). Dordrecht: Springer, Science, Business Media, B.V.
Streader, T. & Williams, A. (1985). Create your own stage lighting. London: Bell and Hyman Limited.
Toepfer, K. (1997). Empire of ecstasy: Nudity and movement in German body culture, 1910-1935. University of California Press.
Tözeren, A. (2000). Human body dynamics: Classical mechanics and human movement.New York: Springer-Verlag.
Vitrubius, M. (1826). The architecture of Marcus Vitrubius Pollio in ten books. Joseph Gwilt (Trad.). London: Priestly and Weale.
Weaver, J. (1721). Anatomical and mechanical: Lectures upon dancing. London: J. Brotherton and W. Meadows.
Zollig, G. ( 2010). Searching for that “other land of dance”: The phases in developing a choreography. In B. Bläsing, M. Puttke and T. Schack (Eds.), The neurocognition of dance: Mind, movement and motor skills (pp. 115-122). Hove: Psychology Press.
Article Sidebar
Article Details
No momento de submissão do artigo é necessário o preenchimento da respetiva “Declaração de Direito Autoral” pelo(s) autor(es), na qual se afirma concordar com as condições e normas de publicação da RILP, bem como garantir o carácter inédito e original do texto submetido para avaliação científica. Deste modo, o(s) autor(es) declara(m) aceitar as instruções e condições de publicação da revista, respeitando os deveres de copyright, mantendo os seus direitos autorais, mas cedem à RILP os direitos sobre a primeira publicação na versão impressa e digital.
A publicação e partilha parcial ou integral do texto (em repositórios institucionais, capítulos de livros, publicações periódicas, redes sociais e plataformas profissionais nas áreas de ciência e investigação, entre outros) obriga à referenciação da publicação inicial na revista e ligação para o site da RILP, recorrendo, para o efeito, à informação disponibilizada pelo sistema DOI (Digital Object Identifier).
A RILP incentiva a partilha e distribuição do trabalho publicado pelos autores na revista, elevando os factores de impacto e número de citações registadas, contribuindo assim para uma ciência aberta (https://www.ciencia-aberta.pt/) e acessível (http://www.unesco.org/new/en/communication-and-information/portals-and-platforms/goap/open-science-movement/), desde logo, à comunidade internacional de língua portuguesa.
Os trabalhos publicados estão licenciados com uma Licença Creative Commons – Atribuição-CompartilhaIgual 4.0 Internacional (CC BY-SA 4.0) e a RILP não imputa aos autores nenhum custo pela submissão de artigos ou publicação.
Deverá enviar a respetiva "Declaração de Direito Autoral" devidamente preenchida e assinada para o seguinte endereço de e-mail: [email protected]
Fernando Crêspo, Instituto Politécnico de Lisboa
Professor Educator by Art - School of Education through Art, 1980, The Laban Center Certificate University of London, Goldsmiths' College, London, 1986. Master of Arts in Dance Studies - Laban Center for Movement and Dance, London, 1989. Doctorate in Fine Arts, specializing in Public Art, at the Faculty of Fine Arts, University of Lisbon, 2016. He is an Adjunct Professor at the Escola Superior de Dança: Movement Studies, Project, Interpretation, Analysis and Notation of Movement (since 1989) and was a professor in several institutions such as the Helen Keller Children's Center, University of Aveiro, IPPorto - ESM, U. Algarve ESE, IPL- ESTC, Commune. He was director of the Escola Superior de Dança, 2004-2013 and President of the Technical-Scientific Council of ESD, 2017-2020. Creator and coordinator of the Dance Project: Ver e Fazer, Representative of the Ministry of Education in the Specialized Technical Commission for Performing Arts and Jury of DGArtes, support for Dance (2010).