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The personal framework

In spite of the significant interest in the manner we think about the ways in which a dance performance can interact with media and digital information technologies, there remains a strong tendency in performance theory2 to place live performances displayed through different media and or digital technology in opposition to one another. Moving in activated environment gives the performer the sense that the space is interacting and alive. Sound can give a kinesthetic effect because there are sound vibrations that affect the performer’s nervous system.

The teamwork involving dance as well as virtual technology is an “innovative” art form, or at least a combination made by uniting different ways of space making. If dance is able to play a role in the future development of virtual technology we could end up with radical new directions for materiality within virtuality, as well as the starting point for a poetics of virtuality that centers on the dancing body. There are many different ways to observe the consequence of digital technology on live performance forms. We can reflect on the somewhat direct submission and execution of new media and digital information technologies in live performance by looking at traditions in which performers are investigating telematic performance spaces3, computerized scenographic in addition to lighting design, computerized choreography as well as performer controlled stage environments, et cetera. (Andersen, 1990).

2If man is a sapient animal, a tool making animal, a self-making animal, a symbol-using animal, he is, no less, a per-forming animal, Homo performance, not in the sense, perhaps that a circus animal may be a performing animal, but in the sense that a man is a self-performing animal--his performances are, in a way, reflexive, in performing he reveals himself to himself. This can be in two ways: the actor may come to know himself better through acting or enactment; or one set of human beings may come to know themselves better through observing and/or participating in perform-ances generated and presented by another set of human beings. Victor Turner The Anthropology of Performance 1986.

3If In this context, the phrase telematic performance space refers to the use of a telecommunication network to stablish inks between two isolated spaces at the same time and to present the activities in those two separate spaces variously as a single performance event

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