The performer's stage experience. Embodiment, being-in-there, experiential translation and the role of the audience in dance performances (Comunicazione a convegno)

Type
Label
  • The performer's stage experience. Embodiment, being-in-there, experiential translation and the role of the audience in dance performances (Comunicazione a convegno) (literal)
Anno
  • 2011-01-01T00:00:00+01:00 (literal)
Alternative label
  • Chiara Bassetti (2011)
    The performer's stage experience. Embodiment, being-in-there, experiential translation and the role of the audience in dance performances
    in 10th ESA Conference (European Sociological Association, Research Network for the Sociology of Culture RN07), University of Geneva, Switzerland, 07-10/09/2011
    (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#autori
  • Chiara Bassetti (literal)
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#affiliazioni
  • Department of Disciplines of Communication, University of Bologna, Italy (literal)
Titolo
  • The performer's stage experience. Embodiment, being-in-there, experiential translation and the role of the audience in dance performances (literal)
Abstract
  • Starting from the analysis of those artistic performances which are non-verbal, and fully corporeal, par excellence, i.e. dance ones, I address the performer's scenic experience, with a particular focus on its embodied, phenomenal and interactional features. The paper derives from the ethnographic research that I have been carrying out on the world of dance. Data primarily include fieldnotes, videorecordings and in-depth interviews. After a brief panoramic on the process of progressive, collective, and emergent construction of the performance from \"nothing\" to the form that it shall take on the stage (e.g. Atkinson, 2006; Becker et al., 2006), I discuss the role of embodiment in both learning and enacting a performance, and show how that is fundamental for reaching the \"status of experience\", the modality of being-in-the-world (Merleau-Ponty, 1945), in which the performer shall need to be on stage. What is usually called \"scenic presence\", and I call being-in-there, in fact, is nothing but the ability to enter - and remain inside - the universe internal to the performance, being thus able to experience \"flux\" (Csikszentmihalyi, 1975). It is about, therefore, a voluntary experiential translation. This is something that performers also try to rehearse in the staging process' final phases, yet the audience plays a fundamental role in theatre. If the audience's quantity and quality affect the performer's scenic experience, in fact, its simple presence, on the other hand, interactionally works as a legitimizing factor for both the performance as a social ritual and the performer's acting and transformational experience. (literal)
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