Forschungsprojekt von Jonas Rutgeerts
Rhythm as an artistic and theoretical tool in contemporary choreography
In the last decades choreographers have issued a growing interest in the development of choreography as an autonomous practice. Choreography is no longer understood as a means to an end, a mechanism to create a performance, but as durational practice that surpasses the scope of the (next) performance. This shift redefines the relation between choreography and performance. The traditional choreography/performance dichotomy, where the choreography is pre-determined by the performance, is replaced by a holistic approach, in which performance is embedded in a choreographic practice that encompasses it. This repositioning of choreography has led to a discrepancy between theory and practice. Since the main research currents in the field of dance take the choreography/performance dichotomy as a starting point, they cannot think this holistic approach.
In this research I will explore the concept of rhythm as a way to both analyse the ‘choreographic practice’ and bridge the gap between theory and this practice. The idea behind this is that rhythm plays a defining role in the organisation of every choreographic working/thinking process. More specifically, I will adopt a dual approach. On the one hand I will examine the functioning of rhythm in specific choreographic working processes. On the other hand, I will enrich my analysis of these practices by referring to different theoretical discussions on rhythm.
Forschungsprojekt von Carlos Oliveira
The research I'm busy with inquires the conditions of possibility of choreography, to further develop an empiricist theory of choreographic techniques and a series of experiments which might realise them. Choreographic techniques are here hypothesised as non-representational practices that modulate relations of difference toward the concrescence of a movement-event and its associated milieu. Such process corresponds to what, in a Simondonian vein, can be called a transindividuation: the co-composition of forces and forms in an evolving ecology of multiple dimensions. In it, the variation of movement making itself felt (the event) is a phase-shift corresponding to an incorporeal change. The conditions for the choreographic induction of a such change are coded and codified milieus, in which the capacity for the event's transmission introduces a charge of indeterminacy that acts as a forcefield for creative advances. Along these lines, this research further explores the modes by which the transitivity of the movement-event, by means of technical distribution, complexifies the emergence of a new phase in the process. In other words, how does the implicit and explicit indetermination in the circulation of transitive events relates to choreographic induction, collective individuation and the event of movement moving? Biographie
Forschungsschwerpunkte von Marlon Barrios Solano