contemporary dance history

Based especially in Since its founding, modern dance has been redefined many times. of the human body and visual expression of feelings. Modern derived a lyrical sensibility and explosive lower body moves from classical ballet but worked from … CONTEMPORARY DANCE HISTORY. He innovates from almost all of the possible perspectives: choreographic, compositional, technical-interpretative, musical, philosophical and others.Contemporary dance history considers him as the first choreographer that proclaims himself against the established conceptions of modern dance, and develops an independent attitude towards the artistic work.- Abstraction: Movement is expressive and enough beyond any intention. Famous dancers like Alexandre Benois, Leon Bakst, and Sergei Diaghilev started Russian Ballets. The style and movement vocabulary of classical ballet is rooted in the five turned-out positions of the feet: (1) heels touching and feet forming a straight line; (2) heels apart and feet forming a straight line; (3) one foot in front of the… They all wanted to show to the world that contemporary dancers should embrace freedom, ignore old dance conventions and explore the limits Contemporary Dance - Ballet and Dance. His work marks the time for a completely new era of dance and gains it the inscription inside the story of contemporary art with the same status as other arts.To understand the so called ‘postmodern’ dance, it is important to remember the social context in which it develops. History of Contemporary Dancing 1973. Contemporary dancers strive to connect the mind and the body through fluid dance movements.

Now it is one of the most popular genres in the world learned and performed by various dancers in the world.

Pina Bausch started advancing the choreography of contemporary dance by giving characters to the dancers and telling a story through movement. There’s no need to tell a story or reflect something.-Away from the need of communicating something, from pre-established formal elements or coming from an interior impulse.-Immobility (as silence) is a sufficient aesthetical experience.-Chance as a method for making aesthetical choices: throwing coins or dice, using the ‘I Ching’.-Deconstruction of rules of perspective and symmetry defined by court ballet: breaking of scenic space conceptions of front, center and hierarchies: space is equal at any point, fragmented and exploded.-The audience is free to see in its own manner and with its own looking choices.-Inventor of the ‘EVENT’: sequence of dances whose dramatic structure or content is never stable, with no sense of logical syntax or construction (ancestor of what is later called -Mastery of tempo and movement length by inner perception.-Ability to dance with great speed and changing of rhythm and directions in an unpredictable way.-Abandonment of the ideas of the ‘inspired artist’, the piece of art as an expression of an individual and an evaluation criterion based on beauty or expressive qualities.-Never the two same ‘events’: not about fixing, but about reflecting flexibility of life.-Reflecting life: no linearity, no classical dramaturgy, things don´t happen only in a successive way but also simultaneously.-No politics, no narrative, no argument, no theme, no intention.-ZEN influence: “non obstructive quality” of things, they can coexist in nature without interfering with each other.-Dance to be danced or to be seen, not to be analyzed.-Innovative lighting, sets and costumes thanks to the collaboration with contemporary artists like Andy Warhol, Robert Rauschenberg and Jasper Johns.For contemporary dance history there’s a ‘before Cunningham and after Cunningham’. This was between the years 1878 and 1927. It would not be very precise to say that one choreographer is more ‘classical’ or ‘contemporary’, as the correspondent features are used freely by all with the creative purposes of each choreographic project.That’s why our contemporary dance history tale finishes here.
The Group also performed under the title London Contemporary Dance Company but most often toured as a performance unit to small venues in Britain under its original name of London Contemporary Dance Group.

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