Ivan S. SACHKOVSaint Petersburg State Rimsky-Korsakov Conservatory
3, Theater Square, Saint Petersburg, 190000, Russian Federation
Assistant of the Department of Ballet Directing
Vaganova Ballet Academy
2. Str. Zodchego Rossi, Saint Petersburg, 191023, Russian Federation
Postgraduate Student
e-mail: ivan.sachkov1985@yandex.ru
ORCID: 0000-0001-9127-7934
Object-oriented Approach in PartneringAbstract: The article examines the relevance of the object-oriented approach in contemporary dance through the prism of the ontological turn in social theory. The main focus is on the contact interaction of objects and subjects, relevance of the application of the concept of partnership to it. The article substantiates the relevance and relevance of the interpenetration of sociological and philosophical theories in the practice of contemporary dance, as well as the influence of the introduction of objects into the choreographic work on the nature of spectator attention. The main theses of object-oriented ontology, actor-network theory and «turning to the material» are presented. The phenomenon of perceptual sensitivity to the implicit signifier in art in general and in contemporary dance in particular is revealed through the lens of the creative thinking process. Based on theoretical materials and analysis, it is proved that the application of an object-oriented approach enriches the work of art and contributes to its actualization. As prerequisites for such an approach in art, these are given about the widespread introduction of material objects, their socialization, blurring of the boundary between the living and the inanimate within the framework of a performative act, the advantage of recognizable, but different from the expected interaction of actors. The article discusses five performances of modern dance, revealing the variability of the relationship between subject and object: magnitudes of the semiotic functions of objects with preservation of its materialities, allocation subject matters by active position to the subject and, so image, its subjective, and, in turn, the possibility of objective subjective. The work of A. Khan and S. L. Cherkaoui reflects the phenomena of mimicry and mimesis while preserving the anthropic significance of dancers and objects. In the play A. Bory delegation of the subjective position to the mechanism comes to the fore. B. Charmatz, on the contrary, deprives the subjective meaning of the participants of the performance. In the works of H. Shechter and W. Forsythe, actors related to identical materiality act within the framework of the subject-object paradigm. At the end of the article, the author concludes about the variability and potential of the object-oriented approach in partnering.
Key words: partnering, modern dance, object, subject, object-oriented approach, object-oriented ontology, material-turn, attention, communication, subject, partnership.
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For Citation: Sachkov, I. Object-oriented Approach in Partnering. International Journal of Cultural Research, 3 (48). 40–51. DOI: 10.52173/2079-1100_2022_3_40
DOI: 10.52173/2079-1100_2022_3_40