Tanz als BewegungsText

Name: Tanz als BewegungsText
Brand: de Gruyter
SKU: 9783484660281
Price: 12693.0 INR
Availability: InStock

by Claudia Jeschke , Cary Rick

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ISBN13: 9783484660281
Binding: Hardcover
Subject: N/A
Publisher: de Gruyter
Publisher Imprint: de Gruyter
Publication Date: March 8, 2000
Pages: 208
Original Price: GBP 100.0
Language: German
Edition: Reprint 2011
Item Weight: 477 grams
BISAC Subject(s): Drama

About The Book

Die Studie widmet sich dem Problem der Bewegungsanalyse, ausgehend von Gesellschaftstanz und Tanztheater im 20. Jahrhundert. Im Zentrum steht die Motorik des sich bewegenden Körpers, die sich - jenseits von Bildhaftigkeit und Metaphorik - als 'natürlich'-physiologische wie kulturelle Praxis begreifen lä t. Aus der analytischen Beobachtung und Beschreibung der Motorik - mittels eines neuentwickelten Systems zur Inventarisierung von Bewegung - ergeben sich die 'BewegungsTexte'. Die Leistungsfähigkeit des Systems erweist sich unter zwei Perspektiven: einmal im Vergleich mit traditionellen Beschreibungs- und Notationsverfahren, den Tanzschriften, zum anderen vornehmlich in der Gegenüberstellung von ausgewählten Populärtänzen des 20. Jahrhunderts (Tango, Charleston, Jitterbug, Twist) und Werken des deutschen bzw. amerikanischen Tanztheaters der Jahre 1910 bis 1965. Die Fallstudien dieses Bereichs sind "L'Après-midi d'un Faune" von Vaclav Nijinsky, "Hexentanz" von Mary Wigman, "Lamentation" von Martha Graham, "Hiob hadert mit Gott" von Harald Kreutzberg, "The Moors Pavane" von José Limon, "Angst" von Dore Hoyer und "Story" von Merce Cunningham. Zur ersten Perspektive: Die Historiographie der Bewegungsanalyse und - damit kulturhistorisch verbunden - des Tanzes bzw. Tanztheaters wird als Verlauf dargestellt, in dem vor allem ästhetisierende und funktionalisierende Verfahren der Bewegungsbeobachtung und -evaluierung zur Anwendung kommen. In der Reflexion der Historiographie ist methodisch die aktuelle Dimension von Bewegungsanalyse zu entdecken: die instrumentalisierende Dimension, die der Bewegung Eigenständigkeit, Proze haftigkeit und diskursives Potential zuerkennt. Zur zweiten Perspektive: Die Entgrenzung tanztheatraler Strategien hin zur Populärkultur (bzw. umgekehrt) ermöglicht die Isolation bewegungsspezifischer Vorgänge auf einer gleichsam realen und handlungsorientierten Ebene. Durch die Verknüpfung der beiden Perspektiven lassen sich - jenseits von traditionellen Stil- oder Genrebegriffen - zeitspezifische Muster motorischer Identität erkennen. Dabei werden Ansätze zu einem allgemeinen 'Bewegungs-Wissen' sichtbar, die auch im weiteren theater- und kulturhistorischen Rahmen für eine Geschichte der Bewegung relevant sein dürften.

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