This study examined the concepts of movements of dance and their elements as the preceding stage for explaining creative movement of modern dance from an aesthetic point of view. The movements of dance related to the definition of dance can be conceptualized as the condition of embodiment of time-sp...
This study examined the concepts of movements of dance and their elements as the preceding stage for explaining creative movement of modern dance from an aesthetic point of view. The movements of dance related to the definition of dance can be conceptualized as the condition of embodiment of time-space-power dimensional interrelations among body parts, and their elements can be summarized as space, time and power. When formalization of space, tensification of time, and dynamization of power answer intentional impulses, called the efforts, the preconditions of creation of dance movements, the stream of movements is generated. Today, it is obvious that modern dance is in a transitional stage. Therefore, we need to divert our interests to the fundamental element of dance, animatedness. What we need to do is retrieving the root of means of expression soaring from human body and identifying the relation between the root of expression and creative thinking. Art has always been playing a role of reflecting social appearance and epoch-making events of the day. Certainly, this aspect of art can also be applied to dance. For example, the unprecedented artistic techniques in history presented by modem dancers reflect the technical developments of this day. Sometimes, choreography is functioned merely as a means to display the technique of dancer's body moving, There is no doubt about the fact that material values and a sense of alienation experienced by us every day are the factors with the strongest influences over our expression. It may be said that the intentions of choreographers dealing with those factors are entertainments with novel elements or innovation levels in their own ways. The danger we come to encounter when we try to find a new breach for expression is that we may forget about or miss the formative process, which transforms personal experiences, giving them a new life. If this really occurs, our thinking process falls into just thinking outcome rather than process itself. That is, we come to forget about those experiences within ourselves and miss the creative thinking process, where helps our imagination enriched, our intuition displayed, and our knowledge expressed symbolically. Consequently, we should make a daring attempt to return to the conditions connected to human roots, experience so-called basic dances again, and perceive our body as the means of obtaining emotions and knowledge. If our understanding levels of human potentiality reach to this degree, forms of art will display unique liveliness and lifelikeness in their own ways spouted from our inner experiences. The choreography expressed at this moment will be the one that expresses human experiences in metaphoric ways beyond simple movements of body.
This study examined the concepts of movements of dance and their elements as the preceding stage for explaining creative movement of modern dance from an aesthetic point of view. The movements of dance related to the definition of dance can be conceptualized as the condition of embodiment of time-space-power dimensional interrelations among body parts, and their elements can be summarized as space, time and power. When formalization of space, tensification of time, and dynamization of power answer intentional impulses, called the efforts, the preconditions of creation of dance movements, the stream of movements is generated. Today, it is obvious that modern dance is in a transitional stage. Therefore, we need to divert our interests to the fundamental element of dance, animatedness. What we need to do is retrieving the root of means of expression soaring from human body and identifying the relation between the root of expression and creative thinking. Art has always been playing a role of reflecting social appearance and epoch-making events of the day. Certainly, this aspect of art can also be applied to dance. For example, the unprecedented artistic techniques in history presented by modem dancers reflect the technical developments of this day. Sometimes, choreography is functioned merely as a means to display the technique of dancer's body moving, There is no doubt about the fact that material values and a sense of alienation experienced by us every day are the factors with the strongest influences over our expression. It may be said that the intentions of choreographers dealing with those factors are entertainments with novel elements or innovation levels in their own ways. The danger we come to encounter when we try to find a new breach for expression is that we may forget about or miss the formative process, which transforms personal experiences, giving them a new life. If this really occurs, our thinking process falls into just thinking outcome rather than process itself. That is, we come to forget about those experiences within ourselves and miss the creative thinking process, where helps our imagination enriched, our intuition displayed, and our knowledge expressed symbolically. Consequently, we should make a daring attempt to return to the conditions connected to human roots, experience so-called basic dances again, and perceive our body as the means of obtaining emotions and knowledge. If our understanding levels of human potentiality reach to this degree, forms of art will display unique liveliness and lifelikeness in their own ways spouted from our inner experiences. The choreography expressed at this moment will be the one that expresses human experiences in metaphoric ways beyond simple movements of body.
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