Sergey S. GRIBOV
Altai State Institute of Culture
277 Str. Yurina, Barnaul, Altai Region, 656055, Russian Federation
Department of Choreography, Teacher
ORCID: 0000-0002-6240-0419 Generative strategies in the context of performing and documenting dance performanceAbstract:
The article analyzes D. Hay’s artistic practice in the context of media performance issues. The author considers Hay’s choreographic scores as generative structures, manifested in artistic performance, audience perception and documentation.
The theory of generative art is used as a methodological basis for the analysis of performances. Within the framework of this theory, developed in the works of P. Galanter, E. Colabella, a work of art is considered as a dynamic system with fixed and variable properties. The «Nine Evenings Festival» (1966) is celebrated as the time of the institutional actualization of dance media performance, at which art projects created by artists and process engineers were presented. D. Hay’s performance «Solo» shown at the festival, was designed and presented as an object-oriented dance structure.
The article analyzes the project «Using the sky», which is focused on the study of archival aspects of the dance score of the performance «No time to fly». It is noted that the generative qualities of the original score are an opportunity to expand the bank of movements in subsequent interpretations, as well as the possibility of including new methods of translating the choreographic text into other areas of art – generative graphics, music. In addition, other projects of the «Motion bank» are analyzed, where generative strategies were applied in dance practice and choreographic documentation: «Seven Duets» by choreographer Jonathan Burrows and composer Matteo Fargion, «Two» by choreographers Bebe Miller, Thomas Howert, «Synchronous objects» by choreographer William Forsyth. As a result of the review of the documentation of the «Motion bank», the performative properties of digital scores were noted, which contribute to the non-linear study of the choreographic text.Key words:
generative art, dance media performance, Deborah Hay, generative documentation, choreographic scores, motion bank, choreographic object, William Forsyth, Jonathan Burrows, Matteo Fargion, Bebe Miller, Thomas Hauert.References:
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Gribov, S. Generative strategies in the context of performing and documenting dance performance. International Journal of Cultural Research, 3 (48). 63–75. DOI: 10.52173/2079-1100_2022_3_63