Hostname: page-component-84b7d79bbc-lrf7s Total loading time: 0 Render date: 2024-08-01T11:08:49.507Z Has data issue: false hasContentIssue false
  • English
  • Français

Non-Finito in Contemporary Dance Making

Published online by Cambridge University Press:  02 August 2016

Ariadne Mikou
Get access Rights & Permissions [Opens in a new window]

Abstract

The affiliation of dance with the academy, which requires a written account and documentation of the process; the impact of the “digital age”; and the visual culture that facilitates the creation of online blogs and promotes projects such as William Forsythe's “choreographic objects” [Synchronous Objects (2009); Motion Bank (2010–2013)]; but also the economic depression, which restricts dance artists from arriving at their final products, might be some of the possible reasons that explain the shift towards the artistic status of non-finito, approached here as a creative process that also manifests through dance scores. However, what is clear so far is that since dance became less and less narrative, the sharing of process inside or outside academia started to increase rapidly, and the value of dance as product is being challenged.

Type
Research Article
Information
Congress on Research in Dance Conference Proceedings , Volume 2016 , Fall 2016 , pp. 266 - 271
Copyright
Copyright © Ariadne Mikou 2016 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Angier, Jeremy. 2001. “The Process of Artistic Creation in Terms of the Non-Finito.” http://www.machinegraphics.com/writings/non-finito/non-finito.html. Accessed June 03, 2015.Google Scholar
Cvejic, Bojana. 2010. “The Ignorant Dramaturg.” Maska 16(131–132): 40–53.Google Scholar
Blackwell, Alan, deLahunta, Scott, and McGregor, Wayne. 2004. “Transactables.” Performance Research 9(2): 67–72.Google Scholar
Burrows, Jonathan. 2010. A Choreographer's Handbook. London: Routledge.CrossRefGoogle Scholar
Butcher, Rosemary, and Melrose, Susan. 2005. Rosemary Butcher: Choreography, Collisions and Collaborations. Enfield, UK: Middlesex University Press.Google Scholar
Caspersen, Diana. 2000. “It Starts From Any Point: Bill and the Frankfurt Ballet.” Choreography and Dance 5(3): 24–39.Google Scholar
deLahunta, Scott. 2007. Capturing Intention: Documentation, Analysis and Notation Research based on the Work of Emio Greco/PC. Amsterdam : Emio Greco PC and AHK/Lectoraat.Google Scholar
deLahunta, Scott, and Bermudez, Bertha. 2010. “Notation.” RTRSRCH 2(2). http://insidemovementknowledge.net/wpcontent/uploads/notation/notation_issue_lg.pdf. Accessed June 14, 2015.Google Scholar
Eleey, Peter. 2008. “If You Couldn't See Me: The Drawings of Trisha Brown.” In Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing, edited by Eleey, Peter, 18–41. Minneapolis: Walker Art Center.Google Scholar
Ellis, Simon Kennedy. 2015. “Igor and Moreno and Boldness.” http://www.skellis.net/blog. Accessed June 03, 2015.Google Scholar
Feuillet, Raoul Auger. 1968. Choregraphie: ou L'art de décrire la dance, par caracteres, figures et signes démonstratifs. New York: Broude.Google Scholar
Forsythe, William. 2008. “Choreographic Objects.” http://www.williamforsythe.de/essay.html. Accessed March 25, 2015.Google Scholar
Gourfink, Myriam. 2013. “Dance, Borrow, Create?” International Journal of Performance Arts & Digital Media. http://www.myriam-gourfink.com/pdf/FromIdeasToGestures.pdf. Accessed May 14, 2015.Google Scholar
Hay, Deborah. 1994. Lamb at the Altar: The Story of a Dance. Durham, NC: Duke University Press.Google Scholar
Imschoot, Myriam Van. 2010. “Rest in Pieces. On Scores, Notation and the Trace in Dance.” http://sarma.be/oralsite/pages/What%27s_the_Score_Publication/. Accessed March 27, 2015.Google Scholar
Keersmaeker, Anne Teresa, and Cvejic, Bojana. 2012. A Choreographer's Score: Fase, Rosas danst Rosas, Elena's Aria, Bartók. Brussels: Mercatorfonds.Google Scholar
Lepecki, André. 2004. “Inscribing Dance.” In Of the Precence of the Body: Essays on Dance and Performance Theory, edited by Lepecki, André, 124–139. Middletown, CT: Wesleyan University Press.Google Scholar
Louppe, Laurence. 1994. “Imperfections in the Paper.” In Traces of Dance. Drawings and Notations of Choreographers, edited by Louppe, Laurence, 9–33. Paris: Dis Voir.Google Scholar
Melrose, Susan. 2006. “‘Constitutive Ambiguities’: Writing Professional or Expert Performance Practices, and the Theatre du Soleil, Paris”. In Contemporary Theatres in Europe, edited by Kelleher, Joe and Rideout, Nicholas, 120–135. London: Routledge.Google Scholar
Morris, Robert. 1995. Continuous Project Altered Daily: The Writings of Robert Morris. Cambridge, MA: The MIT Press.Google Scholar
Peeters, Jeroen. 2010. Are We Here Yet? Damaged Goods, Meg Stuart. Dijon, Belgium: Presses Du Reel.Google Scholar
Protopapa, Efrosini. 2015. “Artists as Scholars: Seriously? (Part 1).” http://bellyflopmag.com/blog/artists-as-scholars-seriously-part-1. Accessed June 3, 2015.Google Scholar
Rainer Variations. 2002. Directed by Charles Atlas [Film, online]. https://www.youtube.com/watch?v=7-WCAwUaAdI. Accessed June 3, 2015.Google Scholar
Ross, Janice. 2007. “Illness as Danced Urban Ritual.” In Ritual and Event: Interdisciplinary Perspectives, edited by Franko, Mark, 138–158. London: Routledge.Google Scholar
Smith, Nancy Stark. 1990. “The Underscore.” Accessed March 26, 2015. http://nancystarksmith.com/underscore. Accessed March 26, 2015.Google Scholar
Tufnell, Miranda, and Crickmay, Christopher. 1990. Body, Space, Image: Notes Towards Improvisation and Performance. London: Virago.Google Scholar
Vasari, Giorgio. 1992. The Lives of the Artists. Oxford, UK: University Press.Google Scholar