000 04285nam a22002894i 4500
001 991061113962406706
003 ES-BaIT
005 20240410095350.0
008 230519s2022 xxka 001 0 eng c
020 _a9781789388763
_q(paperback)
020 _a9781789386400
_q(hardback)
040 _aES-BaIT
_bcat
_erda
_cES-BaIT
080 _a159.9:793
100 _aHansen, Pil,
_d1974-
_eautor
_9133725
245 1 0 _aPerformance generating systems in dance :
_bdramaturgy, psychology, and performativity /
_cPil Hansen
264 1 _aBristol :
_bIntellect Books,
_c2022
300 _aX, 158 pàgines :
_bil·lustracions ;
_c25 cm
336 _atext
_btxt
_2rdacontent
337 _asense mediació
_bn
_2rdamedia
338 _avolum
_bnc
_2rdacarrier
504 _aInclou bibliografia (pàgines 139-150) i índex
505 8 _aConté: Acknowledgements-- List of Figures -- 1. Introduction: Performance Generating Systems in Dance Conceptualizing and researching performance generating systems -- Three analytical and dramaturgical frameworks in application- Dramaturgy- Psychology- Performativity. PART ONE: DRAMATURGY2. The Dramaturgical Agency of Performance Generating Systems Developments in dramaturgical agency Departures from choreography Differences from improvisation Concepts of memory at work Memory and agency in performance generating systems. 3. Analyzing and Notating Performance Generating Dramaturgies as Dynamical Systems Notation challenges Dynamical Systems TheoryDST-based tools of analysis and notation. 4. Recycled Choreographic Memory in relay: Henderson Futuring memory The dynamics of futuring memory Ethics of affecting memory. PART TWO: PSYCHOLOGY 5. The Cognitive Demands and Learning Effects of Performance Generating Systems The emergence of dance psychology Notes on methodology An earned presence- Kinaesthetic perception and perceptual integration- Recalling and perceiving through memory- Constraints and distributed, extended cognition- Implicit and explicit learning- Disrupting and manipulating implicit processes- Unlearning and recalibrating perception. 6. Learning in Whole in the Head: ForsytheImprovisation Technologies: imaging movement modalities Building an ensemble: collective memory and skill development Opening the near closed ‘soft clock’- Generating components within narrow boundaries- Self-organizing dynamics and the attractor of emergent performer agency Closing the near open ‘supernova’- Expanded generating components and exploded boundaries- The self-organizing attractor of ensemble memory and agencyLearning WitH an ensemble 7. Unlearning in I’ll Crane for You: Hay through HouseTesting the boundaries of performance generating systems with Hay through House Generating components- Practice- Adapting performer- Score- Agreement- Transferability Learning to unlearn. PART THREE: PERFORMATIVITY8. Affecting the (Im)possibility of Change: Performativity and TraumaMoving from dramaturgy and psychology through performativity Performativity: discursivePerformativity: posthuman Potential of change in performance generating systems: phase transitions(Un)changeable conditions: trauma Performative Agency. 9. Transition from Dissociation to Intimacy in Crave: KaejaCraving touch: sourcing dissociation Creating ‘touch’Safety through transfer Phase transition towards relational, performative agency Process strategies. 10. Environmental Entanglement in the Dance Machine: LeeQuerying belonging: sourcing displacement A simple dance: devising a consensual feedback system Generating components and phase transition: listening to collective/environmental interaction- Transitions from hesitant/unconnected performance to engagement - Immersive rest and robust forms of creative engagement - Invited forms of collaborative engagement Performative strategies. 11. Conclusion: Affecting Agency, Learning, and Change through Performance Generating Systems The conceptualization of performance generating systems Dramaturgical, psychological, and performative case insights The combined theoretical frameworks and their future application Appendix: Methodological Negotiations Bibliography Index
650 0 _aDansa
_xAspectes psicològics
_2lemac
_981041
908 _aCDMAE
940 _aOCLC
942 _2udc
_c1
999 _c134982
_d134982