Tatiana V. GORDEEVA
Vaganova Ballet Academy
2. Str. Zodchego Rossi, Saint Petersburg, 191023, Russian Federation
Senior Teacher of Balletmaster’s Education Department
PhD in Arts
ORCID: 0000-0003-0392-9301Virtuous Ordinarity as a Key Aspect in a Communication Structure in Dance PerformanceAbstract:
In exploring the crossing path of contemporary dance and performative practices we focus on dance performance medium – body and its special characteristic – its subtlety. Performative aesthetic is charged with dichotomy such as «object»/»subject» or «being a body»/«having a body». What are the sources of engaging a spectator in the process of forming the performative event and what are the frames for the affects not emptions to emerge? In dance art «the means» (I’m body) and «the ends» (I’m dancing) overlap. The glimmering border dividing these two positions is regarded in the frames of the neurocognitive theory, the sense of agency, based on pre-reflective levels of awareness. We draw on insight from a contact improvisation discourse where accordingly to Catherine Deans’ and Sarah Pini’s research «Skilled performance in Contact Improvisation: the importance of interkinaesthetic sense of agency» the expertise is developed by the means of «interkinaesthetic attunement and a capacity for interkinaesthetic negative capability». «Thinking body» or «kinaesthetic intellect» relates to the subtlety of sensor-motor attunements, reflection of efforts and tension’s balance, which result in the most effective solution for a motor task and capacity to reject to control while in the flow of movement. The oscillation in levels of agency, one of control and the other of «not knowing», evoke «perceptual multistability» in a spectator: from one side, dance performer’s body is similar to one of the spectators, it’s ordinary, from the other – it has a special capacity, like a virtuosity, to be flexible in navigating oscillations in interkinaesthetic sense of agency.Key words:
dance performance, contact improvisation, sense of agency, sense of ownership, kinaesthetic intellect, somatic practices, improvisation, sensor correction.References:
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Gordeeva, T. Virtuous Ordinarity as a Key Aspect in a Communication Structure in Dance Performance. International Journal of Cultural Research, 3 (48). 52–62. DOI: 10.52173/2079-1100_2022_3_52