Composicion danza2

Capitulo 1- Composición coreográfica
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Fig. 1 Notación de pasos de ballet, Raoul- Auger Feuillet, 1700
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En el ballet son: Plegar o doblar, elevar o estirar, saltar, es un tipo de brinco, caer,
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Fig. 2 Vestuario de Triadic Ballet, 1922, Oskar Schlemmer
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2
Dixon Steve, Digital Performance, a history of new media in theater, dance, performance
art, and installation, Leonardo Books, USA, 2007,¨Schlemmer took narrative, spatial and
choreographic abstraction to new heights during the 1920s.He designed robotic costumes
for the Futuristic dance The Triadic Ballet (1922); utilized mechanical devices to move flat,
metallic figures rapidly around the stage on wires; and enclosed female performer´s head
and hands in science- fiction-style silver spheres for Metal Dance(1929), staged within a
corrugated tin-plate set. Schlemmer also prefigured ideas of avatars and artificially
intelligent robots in his plans to create an artificial figure (Kunstfigure) without wires.pág.39
(T.A)

27
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28
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Fig. 3 Danza Serpentina 1896, de Loie Fuller
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3
Ibidem, pág. 39, 40¨ Dance, ostensibly that most nakedly corporeal of all performance
forms. Has similarly been conceptualized as a continually evolving technological praxis.The
dancer Loíe Fuller provide an interesting example, undertaking some extraordinary
experiments from 1889 with the then new technology of electricity. (T.A)

29
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4
Cunningham, Merce (Tomado de la página web de Credo Interactive Inc. quienes
comercializan el software Life Forms) Disponible en: www.credo-interactive.com/ (Consulta:
7 enero 2011)"...Life Forms is not revolutionizing dance but expanding it, because you see
movement in a way that was always there - but wasn't visible to the naked eye."
(Traducción del autor)

30
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5
Cunningham bailando Loops como parte de Evento #164, abril 1976, Tokyo, Disponible
en: http://openendedgroup.com/index.php/artworks/loops-2001-present/cunningham-
choreography/performance-excerpt/ (Consulta 7 enero 2011)
6
Loops, Disponible en: http://openendedgroup.com/index.php/artworks/loops-2001-
present/cunningham-choreography/performance-excerpt/ (Consulta 10 de enero 2011)

31
-"%&)"( 5( -$#M%0&'+( )$( 8+( %+..+'&E%( )$8( &%0@.9.$0$=( T"#"( $-0+(
)+%,+(-$(&%0$.9.$0+/+($%(J&J"(5()&.$'0"I(0+#/&@%(8+("/.+()&H&0+8(0+8(
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Fig. 4 Loops, 2008, Merce Cunningham
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/<-'+/+%( $%'"%0.+.( $-0.<'0<.+-( $%( $8( 0$K0"( D<$( 0<J&$.+%( <%+(
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$%'"%0.+)+-($%(8+(#W-&'+(5($8(8$%H<+N$=(A+8$-(?".#+-(?<$."%(8&-0+-(

32
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Fig. 5 Life Forms, visualizando el movimiento
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#$0+=(
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33
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Fig. 6 Trackers, 1991, Merce Cunningham
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34
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7
Merce Cunningham, in conversation with John Rockwell, (en línea) Disponible
en:http://prelectur.stanford.edu/lecturers/cunningham/ (Consulta: 5 de febrero 2011).
¨I like to produce movement that seems out of range, to enlarge the range and add things to
other
movement can be. The computer has opened it up to me. It has broadened what I think of
as possible in dance¨(Traducción del autor).

35
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9
Merce Cunningham in conversation with John Rockwell (en línea) Disponible en
http://prelectur.stanford.edu/lecturers/cunningham/, (Consulta 18 abril 2011). ¨When I
choreograph a piece by tossing pennies by chance, that is I am finding my resources
in that play, which is not the product of my will, but which is an energy and a law which I
too obey. Some people seem to think that it is inhuman and mechanistic to toss pennies
in creating a dance instead of chewing the nails or beating the head against a wall or
thumbing through old notebooks for ideas. But the feeling I have when I compose in this
way is that I am in touch with a natural resource far greater than my own personal
inventiveness could ever be, much more universally human than the particular habits of
my own practice, and organically rising out of common pools of motor
impulses.¨(Traducción del autor).

38
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10
Leeschaeve, Jacqueline, Merce, Cunnigham in conversation with Jaqueline Lesschaeve,
the Dancer and the Dance, Marions Boyars New York-London 1991.págs. 20, 22.¨There are
sixty-four phrases, because that´s the number of hexagrams in the I Ching. .The phrases
are formed like the numbers themselves At sixty-four, you have sixty-four weight
I numbered the space with sixty-four squares
space chart and a movement chart, both in sixty-
see what to do. That´s how those trios and duets appear in the piece.(T. A)

39
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