INTERMEDIA NARRATIVE AND PERCEPTIO SENSATIO IN MUSIC CHOREOGRAPHY
DOI:
https://doi.org/10.29121/shodhkosh.v4.i2.2023.649Keywords:
Intermediality, Body Movement, Music Choreography, Virtual Reality, Perception, SensationAbstract [English]
The aim of the article is to consider the question: what do technological innovations bring to creative activities, so that we can see in them a new way of creating, and how does a work of multivariate nature affect the viewer, evoking in him/her a peculiar perceptio sensatio.
The article presents an intermedia project based on distributed authorship, resulting from the collaboration of a music choreographer, a visual artist and a music theorist. Each of these people brings a different perspective and creation to the project, which integrates the guiding idea of "hearing and seeing" music, and even experiencing it multisensorially.
Syncretic activities on the borderline of composition, improvisation and interpretation of music and its choreography, as well as the conscious use of audiovisual objects, expand the fields of artistic activity to reach the audience through multiple channels of sensory perception. The spectator does not perceive isolated fields, because the sensory world is a synthesis of different fields of perception. The same object that we see, we can touch, can be a source of sound and smell. In this constellation, the intermedia narration of the work is not only an experiment that influences the attractiveness of the musical choreography presented, but also an object of research into a new language, the use of which expands the concept of thinking about the form of the composition presented. The amplified dimensions of the work's reception make it an attractive form of expression, which at the same time becomes an artistic-cognitive hybrid.
Downloads
References
Bruhn, S. (2000). Musical Ekphrasis : Composers Responding to Poetry and Painting. Hillsdale, NY : Pendragon Press.
Bruhn, S. (2001). A Concert of Paintings : “Musical Ekphrasis” in the Twentieth Century. Poetics Today 22(3), 551–605. https://doi.org/10.1215/03335372-22-3-551. DOI: https://doi.org/10.1215/03335372-22-3-551
Cvejić, B. (2015). Introduction. In Choreographing Problems. Performance Philosophy, 1-27. Palgrave Macmillan. https://doi.org/10.1057/9781137437396_1. DOI: https://doi.org/10.1057/9781137437396_1
Czarnecki, J., Flamingo, aka Elvin, Cech, G.M. (2019). Biomedia. Sztuka i Dokumentacja, 20, 48–49. https://doi.org/10.32020/ARTandDOC/20/2019/6.
Dance as dramatic expression or abstract form. (2023, July 16). In Encyclopædia Britannica.
Drajewski, S. (2017). Ekfraza dzieła muzycznego w choreografiach Conrada Drzewieckiego. Wydawnictwo Akademii Muzycznej w Poznaniu.
Karwaszewska, M. (2021). From Kamil Cieślik's In Danzig to In eDanzig. In C. Soddu, E. Colabella (Eds.), XXIV GENERATIVE ART 2021 procedings of XXIV GA conference, 59–67. Domus Argenia Publisher. https://doi.org/10.5281/zenodo.7746404.
Karwaszewska, M. (2022). To See the Invisible. Inphrastic Inspirations by Night Nature Photography. From Photography to Audiovisual Composition. In C. Soddu, E. Colabella (Eds.), XXV GENERATIVE ART 2022 procedings of XXV GA conference (pp. 227–233). Domus Argenia Publisher. https://doi.org/10.5281/zenodo.7772420.
Klaman, G. (2019). BIOmedia w Akademii Sztuk Pięknych w Gdańsku. Sztuka i Dokumentacja [Art and Documentation], 20, 51–62.
Lissowska-Postaremczak, R. (2020). ”Przywracając widza do zmysłów”. O kinestetycznym doświadczeniu w interdyscyplinarnych instalacjach choreograficznych. Kultura Współczesna. Teoria. Interpretacje. Praktyka 4(111), 122-134. https://doi.org/10.26112/kw.2020.111.09.
Macioszek, S. (2020). Opera, ciała, technologie. Strategie współdziałania w XXI wieku. Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika.
Moura, L., & Pereira, H.G. (2004). Symbiotic Art Manifesto. (2023, July 16). In
Ploebst, H. (2001). No Wind No Word : New Choreography in the Society of Spectacle. Munich : K. Kieser.
Ploebst, H. (2009). ‘Blago Bung Bosso Fataka’, Frakcija Performing Arts Journal 51–2, (Autumn 2009), 160–71.
Spångberg, M. (2017). ‘Post-dance, an Advocacy’. In D. Andersson, M. Edvardsen, & M. Spångberg (Eds.), Post-Dance, 349–393. Stockholm : MDT.
Starobinski, J., & Kwiatkowski, W. (1972). Wskazówki do Historii Pojęcia Wyobraźni / Jean Starobinski ; tr. Władysław Kwiatkowski. Pamiętnik Literacki, 63(4), 217-232.
Strzemiński, W. (2016). Teoria widzenia. Muzeum Sztuki w Łodzi.
Zamorska, M. (2014). Multimedialność : Strategie Wykorzystywania Nowych Mediów (Elektronicznych, Cyfrowych) w Polskim Nowym Tańcu, Wrocław.
Zamorska, M. (2017). Performans Choreograficzny w Kulturze Postmedialnej, Didaskalia. Gazeta Teatralna, 37, 52-58.
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 Monika Karwaszewska, Beata Oryl
This work is licensed under a Creative Commons Attribution 4.0 International License.
With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute, and/or copy their contribution. The work must be properly attributed to its author.
It is not necessary to ask for further permission from the author or journal board.
This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.
