Abstract
In re-presenting on the page a dance workshop, this article draws attention to what I describe as a dramaturgical consciousness within improvised dance performance. Developing this particular consciousness entails a reconfiguration of the dramaturgical and the improvisational, which allows us to understand them both as embodied practices that play with memory. The workshop takes the participant/reader through a series of activities designed to activate a sensibility through which distinctions between action and intellect, inside and outside, and past and present are productively blurred. As a practical workshop, it requires the purposeful activation of embodied thinking while foregrounding the importance of memory, perception, and composition as the bases of a dramaturgical consciousness in improvised dance performance.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Works Cited
deLahunta, Scott. “Dance Dramaturgy: Speculations and Reflections.” Dance Theatre Journal 16. 1 (2000): 20–25.
De Spain, Kent. “The Cutting Edge of Awareness: Reports from the Inside of Improvisation.” Taken by Surprise: A Dance Improvisation Reader. Ed. Ann Cooper Albright and David Gere. Middletown, CT: Wesleyan UP, 2003. 27–38.
Fuchs, Thomas. “The phenomenology of body memory.” Body Memory, Metaphor and Movement. Ed. S. C. Koch, T. Fuchs, and C. Müller. Amsterdam: John Benjamins, 2013. 9–22.
Gendlin, Eugene T. “Comment on Thomas Fuchs: The Time of the Explicating Process.” Body Memory, Metaphor and Movement. Ed. S. C. Koch, T. Fuchs, and C. Müller. Amsterdam: John Benjamins, 2013. 73–81.
Goldman, Danielle. I Want To Be Ready: Improvised Dance as Practice of Freedom. Ann Arbor: University of Michigan P, 2010.
Kunst, Bojana. “The Economy of Proximity.” Performance Research: A Journal of the Performing Arts 14. 3 (2009): 81–88.
Lehmann, Hans-Thies, and Patrick Primavesi. “Dramaturgy on Shifting Grounds.” Performance Research: A Journal of the Performing Arts 14. 3 (2009): 3–6.
Lepecki, André. “The Wrath of the Grassroots: Dance without Distance.” Ballet International Tanz Aktuell 2 (2001): 29–31.
Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Colin Smith. London: Routledge, 1989.
Midgelow, Vida L. “Dear Practice…: The Experience of Improvising.” Choreographic Practices 2. 1 (2011): 9–24.
Noë, Alva. Action in Perception. Cambridge, Mass.: MIT, 2004.
Peeters, Jeroen. “Heterogeneous Dramaturgies.” Maska 131 /32 (2010): 17–27.
Peters, Gary. The Philosophy of Improvisation. Chicago: University of Chicago P, 2009.
Stalpaert, Christel. “A Dramaturgy of the Body.” Performance Research: A Journal of the Performing Arts 14. 3 (2009): 121–125.
Turner, Cathy, and Synne K. Behrndt. Dramaturgy and Performance. Basingstoke: Palgrave Macmillan, 2008.
Editor information
Editors and Affiliations
Copyright information
© 2015 Vida L. Midgelow
About this chapter
Cite this chapter
Midgelow, V.L. (2015). Improvisation Practices and Dramaturgical Consciousness: A Workshop. In: Hansen, P., Callison, D. (eds) Dance Dramaturgy. New World Choreographies. Palgrave Macmillan, London. https://doi.org/10.1057/9781137373229_6
Download citation
DOI: https://doi.org/10.1057/9781137373229_6
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-55797-4
Online ISBN: 978-1-137-37322-9
eBook Packages: Palgrave Theatre & Performance CollectionLiterature, Cultural and Media Studies (R0)