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Orientador: Holly Elizabeth Cavrell Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: O trabalho que aqui se apresenta propõe trabalhar o conceito de Campo Expandido relacionando-o à História da Dança Cênica. Problematiza-se o uso das palavras espaços alternativos e não convencionais como terminologia utilizada para referir-se às danças feitas fora dos teatros, pensando que seu uso pode indicar uma confusa relação da saída dos palcos, ligando este fato exclusivamente ao uso do espaço e minimizando outros aspectos composicionais da obras. É trazido o cenário no qual se instalou a dança pós-moderna, especificamente nos anos de 1960 e 1970 no Estados Unidos da América por acreditar que os processos que estes artistas atravessaram, possibilitaram a ampliação de práticas expandidas na dança contemporânea. Acompanhamos este período, ilustrando o contexto por meio das práticas de artistas como Merce Cunningham, Anna Halprin e Trisha Brown. Partindo deste olhar, investe-se na busca de traçar como estas mudanças ainda ressoam no presente e caminham influenciando as convenções nas artes, possibilitando uma contínua ampliação da produção em áreas que se dedicam a implementação outras possibilidade de criação em dança, que àquela estabelecida nos palcos, trazendo exemplo destes comportamento por meio da observação da ação em dança de outros artistas e de práticas da própria autora Abstract: The work in question proposes working with the concept of Expanded Field by relating it to Dance History. It discusses the use of the words alternative and unconventional spaces as terminology used to refer to dances made out of theaters, thinking that their use may indicate a confusing relationship. To this end, it deals within the scenario of the post-modern dance generation, in the 1960s and 1970s in the United States. We follow this period, presenting the context and illustrating it through the practices of artists such as Merce Cunningham, Anna Halprin and Trisha Brown. It is believed that the processes that these artists developed, allowed for the expansion of practices in contemporary dance. From this point of view , we seek to trace how these changes still resonate in the present and continue influencing art's fronteirs, enabling an expansion of production in areas that are dedicated to implementing other possibilities for creating dance, other than traditional venues, bringing example of these behaviors by observing the action in other artists and self-authoring practices Mestrado Teatro, Dança e Performance Mestra em Artes da Cena

Résumé: On parle souvent, à l’égard de la danse post-moderne américaine des années 1960 et 1970, de corps, de mouvements, de procédures chorégraphiques démocratiques. Pourtant, certains traits de ces danses (déhiérarchisation des parties du corps et des virtuosités, recherche de processus de décision collectifs...) s’opposent de manière critique à la démocratie libérale. C’est plutôt de l’anarchisme qu’elles se réclament. En s’appuyant sur trois aventures collectives américaines, et en examinant les écrits de Steve Paxton comme témoin et acteur de ces aventures, cet article se demande: Qu’est-ce qu’un postulat anarchiste permet de voir dans ces danses? Que nous apprennent les pratiques chorégraphiques sur l’anarchie? Abstract: Post-modern dances of the 1960s and 1970s in the US are often associated with democracy: with democratic bodies, movements, and choreographic procedures. Yet some of their key aspects (such as the dehierarchization of creation processes, body parts and virtuosities, the investigation of new systems of collective decisions…) directly oppose and criticize representative liberal democracies. This article proposes that anarchism, as the theory and practice of rejecting and interrogating forms of domination, could be a richer term to describe their political intents. Through a case study of three collective choreographic adventures, as well as the testimony of dancer and choreographer Steve Paxton, it asks: What can we learn about post-modern dances through the lens of anarchy? And what can we learn about anarchy through the lens of those dances? Resumo: Quando se fala da dança pós-moderna americana dos anos 1960 e 1970, fala-se com frequência de corpos, de movimentos e de procedimentos coreográficos democráticos. No entanto, certos aspectos dessas danças (des-hierarquização das partes do corpo e das virtuoses, busca de processos de decisão coletivos...) se opõem de maneira crítica à democracia liberal. Elas seriam reivindicações anarquistas, mais do que democráticas. Baseando-se em três aventuras coletivas americanas, e examinando os escritos de Steve Paxton como testemunha e ator dessas aventuras, este artigo pergunta: o que um postulado anarquista permite ver nessas danças? O que nos ensinam as práticas coreográficas sobre a anarquia?

Contact Improvisation (CI) has grown into perhaps the most influential form of contemporary dance improvisation, yet is relatively seldom reflected upon in academic discourse. This article argues for a closer understanding of embodied and environmental aspects of consciousness and lived experience in the study of CI. Broaching the challenge of capturing such corporeal insight in the form of written analysis, this article is an attempt to reflect upon CI’s potential contributions to humanities thought on embodied cognition. Embodied cognition theories assert that embodiment constitutes a fundamental and inseparable part of human cognitive and perceptual capacities, and thereby of human consciousness. CI calls to experience the body as “an intelligent practitioner rather than instrument” (Novack 1990, 185), with no full separation between “physical” and “mental,” nor between sensation, perception, and thought. CI may thus offer a highly potent territory for manifesting and further examining the radical inseparability between minds and bodies. First, this article provides an extended introduction of CI, discussing the difficulties of defining the form, the interconnectedness of its practice and discourse, and the challenges these pose for “objective” or “unbiased” academic analysis – which CI does not allow for. Next, the author turns to the link between CI and the writings of two central philosophical thinkers on embodied cognition: Alve Noë and Brian Massumi. This article proceeds to examine, through the link to CI, key tensions between Noë’s and Massumi’s framing of the inter-relationship between the somatic experience of movement and vision, perception and navigation. Understandings of this inter-relationship relate to the question of whether highly attuned embodied experience can potentially escape the limits of phenomenology. The author concludes by laying out arguments for both answers to this question, fusing Noë’s and Massumi’s positions to the tensions between conceptualizations of CI as “physics” and “chemistry.”

本研究は、芸術表現系の大学院生に、創作ダンスに必要なポスト・モダンダンスの中核であるコンタクト。インプロヴィゼーションの第一段階となる「触れあう」を指導した過程と成果を紹介するものである。### 文献と体験を基に検討を重ねた指導方法により、履修した大学院生は、ダンスの表現方法の重要な要素を体得することができた。### The purpose of this study is to report on the process and results of guidance given to undergraduates who major in artistic expression on practices related to the first steps in contact improvisation, named "Body Touching Each Other". Contact improvisation is the core of post-moderndance and is necessary for dance creation. The undergraduates finished the first stage of contact improvisation, and grasped its fundamental importance through the systematic method which we employed.

La danse n’est pas un langage articulé, à la manière du langage verbal. Le corps trivial, d’où sort le corps dansé, est « quasi articulé ». Cette quasi-articulation rend possible le mouvement dansé, échappant à l’alternative « corps aux gestes absolument codés / corps au sens incarné » : la danse surarticule les corps. L’analyse et le commentaire de certains exercices de Contact-Improvisation – la technique élaborée par Steve Paxton dans les années 70 – montrent comment le geste dansé se construit à partir de mouvements microscopiques dont le toucher fait prendre conscience dans le corps de l’autre. Par ailleurs, comment la danse fait-elle communiquer les corps ? D’où le besoin d’introduire certaines notions comme « conscience du corps », ou « communication entre inconscients ». C’est à préciser leur sens que s’attache la dernière partie de l’article. Dance, the body and the unconsciousDance is not a language articulated like the spoken word. The ordinary body, whence the dancing body appears, is “quasi articulated”. Dance movements thus elude the alternative between a “body with absolutely coded gestures” and an “incarnated body”: dance “surarticulates” bodies. This analysis of certain Contact-Improvisation exercises (as worked out by Steve Paxton in the 1970s) show how “danced gestures” are built up out of microscopic movements that enter consciousness through touching another’s body. How does dance make bodies communicate? To answer this, itis necessary to introduce and explain notions such as“body consciousness” or “communication between the unconscious”.