Littérature scientifique sur le sujet « Choreology »

A structural model for drawing articulates the elements that come together to produce mark-making. This model was inspired by Choreology, the study of movement initiated by dance artist and educator Rudolf Laban in the first half of the twentieth century. Laban developed theories for movement to help dancers better understand the expressive potential of their bodies. His analysis, together with subsequent scholars, defines how the human body moves in space. In the way dancers and choreographers gain analytical skills and greater awareness of their movement choices through studying Choreology, so visual artists can gain a new understanding of mark-making and its relationship to the body by looking at drawing through the lens of movement theory. This project was carried out during my research in Creative Practice at Trinity Laban Conservatoire of Music and Dance, 2017‐19. In the process of developing the model for drawing, I created a palette of marks by testing out a range of movements with different mark-making tools such as pens, pencils, watercolours and paint sticks. These marks correspond to Laban’s Effort Actions, a list of eight physical actions the body can make. The resulting artworks have a particular energy and visual language to them. Their creation is driven by the way the mark-maker moves their whole body in a choreographed drawing performance. Through physical actions, the mark-maker becomes aware that specific movements make specific marks. The appearance of these marks is influenced by the form and the effort of the physical movement, by the surface material, its orientation, and by the mark-making instrument and its colour. Designing a structural model for drawing has given me a deeper insight into the process of embodied drawing and performance, enabling me to make informed choices about the visual traces I create through moving my body in different ways.

In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated their dances; thereby devising a choreology of Malay theatrical dance. Four performance parameters – motivic sequencing, improvisation, reflexive-cueing, and the dance-lyrics dynamic – were employed to guide and control these mechanisms. This case study aims to show how analysing a creative dance method benefits from an ethnographic research approach. 1

This article moves towards an explanation of the kinds of meaning captured in dance notation, towards a critical reflection on linguistic accounts of meaning in dance, and towards a model of analysis that slips free from the dichotomy of theory versus practice, and its correlate of text versus experience. In following Derrida's argument about speech and writing, and through a re-reading of his account of the myth of Theuth, I suggest that dance notation sensuously illustrates the kind of binary-destabilising matter and movement that Derrida theorises variously as trace, différance, and arche-writing. Further, I propose that dance notation, in its relationship to theatrical dance, provides an exemplary, rather than a unique, textual practice: one which necessarily annihilates the old mind/body and speech/writing dualisms. While Derrida achieves this through elaborate, often mischievous, wordplay in his deconstructions, I reflect upon the etymology of choreography and choreology, upon the process of reading and writing a dance score, and upon the marginal status of notation within the dance field.

"This article represents a closer examination of the triadic perspective of creating, performing and appreciating a performative event. This type of analysis is directly linked to choreological studies, a domain which is not yet part of the Romanian academic field, but, in essence, it does exist through other forms of theatrical studies and practices. I localize every scholarly aspect in current performative practices, more precisely, in that of physical and dance theatre. Through this article I would like to bring more attention to the way these forms of performing arts are created, performed and spectated by individuals who are able to deal with all three processes. Therefore, this analysis will have a more personal mark, thanks to the interviews integrated, with two internationally known artists in physical theatre: Hannes Langolf and Rob Hayden. It is a closer unveiling of how processes of transaction function within a piece of work. It is a way of constant questioning every participant in an artistic event should confront him/herself with. Keywords: choreology, movement, physical theatre, creator, performer, spectator, interview, Hannes Langolf, Rob Hayden"

The publication analyses the features of the choreographic language of the Ukrainian ballet performance in the first half of the XXth century. The publication aims to analyse peculiar features of the development of choreographic language of the Ukrainian ballet performance, relevant in terms of modern art, in the first half of the XXth century. Scientific novelty is in considering the choreographic language of the Ukrainian ballet in indissoluble communication with the modernist style era as dominating in world culture during the first half of the XXth century. Research methodology. While conducting the research, the need for involvement of a comparative-historical method fixing similarity between the cultural phenomena as certificates of community of their origin caused the use of the integrated approach. Application of cultural science methodology including a sociocultural approach that focuses attention on unity of culture and sociality, considering scientific achievements of choreology, cultural science, ethnography, psychology, history, etc. became necessary. Following the results of the research, we came to the following conclusions. At a present stage choreographic language needs to be considered as a mirror of culture, as its objective image, model as it accompanies its development. At the same time, when the surrounding cultural matrix changes, art language of the ballet passes through transformations too. Speaking about dance terminology at the present stage of development, a number of researchers claim to use the terms borrowed from the classical ballet.

Introduction. The scientific and creative work of one of the most famous Ukrainian theater critics, Oleksandr Ivanovych Chepalov, is analyzed. O. Chepalov is a choreologist, playwright and journalist, Honored Art Worker of Ukraine, Doctor of Arts, and professor, who currently holds the position of Head of the Department of Choreographic Arts at Kyiv National University of Culture and Arts. The article turns the spotlight on the wide thematic range of O.Chepalov as a scientist and researcher: musical theater, historical explorations in the field of Ukrainian theatrical avant-garde of the early XX century, experiments in modern attempts to visualize the performing arts. Materials and methods. The biographical method is used as a basis for studying the work of O. Chepalov’s creative personality. The comparative method is used for parallel analysis of the artistic research, as well as the principles of general scientific methodology that can determine the logic and sequence of the cognitive tasks. In particular, the experience of the article author is reviewed, a graduate student communicating with O. Chepalov as with an academic advisor of the Ph.D. thesis “The phenomenon of actress and singer Y. P. Kadmina in the cultural processes of the late XIX century”. Similar experience of the academic advice work on theatrical research (V. Mizyak, Li Zhenxing) and dissertations in the choreological field (L. Kosakovska, O. Shabalina, K. Bortnyk, N. Kabachok, N. Chilikina, E. Yanina-Ledovska, I. Mostova) has been reviewed. Discussions. For convincing evidence, the analytical comments by reviewers of O. Chepalov’s books, as well as the texts of the bibliographic guide “Chepalov Oleksandr Ivanovych” (2015) with the involvement of the articles by famous scientists and masters of arts (L. Tanyuk, N. Kornienko, V. Sheiko, T. Vierkina, V. Mulerman, R. Poklitaru, D. Gorbachov) are included. Results. O. Chepalov’s monographs dated from 2001 to 2020 consider important theoretical questions about the role and place of the Ukrainian avant-garde artists (including M. Foregger, a director and choreographer) in the world art space of the respective time. In his "Choreographic Theater of Western Europe in the XX century" study, which has no analogs in the world science, the author managed to recreate a panorama of the modern dance development in all its diversity of stylistic and formative features. During 2011–2014, the magazine “Dance in Ukraine and the World” was regularly published on the initiative and under the editorship of O. Chepalov. This magazine covered the problems of national and world choreographic art, analyzed the most significant phenomena among cultural and historical events. In his book “Notes of the Phantom of the Opera” O. Chepalov considered the creative path of the Kharkiv ‘M. V. Lysenko’ National Academic Opera and Ballet Theatre in personalities and historical retrospection, where he held the position of Head of the Literary Department for 47 years. The monograph “Theatrical Insomnia in Summer Night” collected the best articles by O. Chepalov in the field of art journalism for about 40 years, which marked the range of his priorities and revealed the most characteristic cultural processes of today. Finally, in his latest book “Choreology” (2020), the famous researcher published the texts of lectures and articles since the introduction of choreology (dance theory) in the educational practice of the Ukrainian universities (2004). The directions of O. Chepalov’s research, in particular in the fields of theater studies and dance science, can serve as examples of the purposeful and fruitful expansion of artistic and scientific priorities. Conclusions. O. Chepalov’s writings distinguish the universality and systematization of the culturological approach, impressive professional knowledge in almost all types and genres of art, and extraordinary literary talent. O. Chepalov is also characterized by establishing a high professional level in the criteria of creativity. He also cares to ensure that representatives of his choreological and theater school meet the world’s scientific criteria.

Advances in society have enriched lifestyles, making them more comfortable and increasing spare time. People spend more time and money on entertainment 'and amusement, purchasing more than basic necessities and spending time at recreational facilities. Devices used in entertainment and amusement frequently interact with people, making it important to design them emphasizing subjective evaluations by people who interact with them rather than objective evaluations such as speed and accuracy. This makes technologies on entertainment and amusement interdisciplinary, going beyond the scope of conventional engineering with consideration of human sensitivities. Sugeno describes this interdisciplinary technology and discusses its possibilities in ""Engineering and Amusement."" This special edition presents information on Japanese mechatronics technologies for entertainment and amusement to overseas people. Included are papers on scholarly- and technologically-de novo research and developments and technologies already put into practical use as commercially available products. Devices for entertainment and amusement must interact with people in different ways, and as such, they take a wide variety of shapes and have a broad array of controllers to suitably accommodate different human needs. It is therefore of critical importance to give special consideration to human sensitivity, which makes this area of engineering difficult to standardize and generalize. It is, however, becoming increasingly important in different fields of engineering to take interaction between machinery and people into consideration. This special edition provides perspectives and technologies that hold clues for the field of entertainment and amusement and also for many other areas of research and development. Kuroki et al. discuss the structure and the control architecture of SDR-X, a humanoid robot developed for entertainment, and detail the dancing performance of this robot in ""A Small Biped Entertainment Robot."" Shibata et al. statistically analyze the findings of subjective evaluation of the Mental Commit Robot Paro, a robot shaped like a baby seal developed to provide positive psychological effects such as pleasure and comfort to people through interaction, and considers the results in ""Subjective Evaluation of Seal Robot Paro."" Mitsui et al. tell about the results of physiological experiments and subjective evaluations of psychophysiological effects of interactions with a seal-shaped Mental Commit Robot on people in ""Psycho-physiological Effects by Interaction with Mental Commit Robot."" Nakata et al., in ""Analysis of Impression of Robot Bodily Expression,"" suggest a method for setting up physical characteristics of movements based on the theory of Laban in Choreologia as a way of quantitatively evaluating impressions of movement of a robot a person gets during interaction, and discuss the method's effectiveness. Tanaka et al., in ""Principle of Stable Running of A Unicycle Robot,"" describe the research and development of a unicycle robot modeled after the movement of a person riding a unicycle. They analyzed the mechanism of complex and skillful movements to have the robot make comical human-like movements. These findings could be applied to controlling robots in general. Kobayashi et al., in ""A New Concept of the Robotic Technology Applicable to Human Physical Support,"" describe a muscle suit to support human muscles with the help of air tube actuators. Because this suit enables people to move about naturally, its technology is applicable as component technology for new types of entertainment. Yamamoto et al., in ""Conversation with a Communication Robot Named Wonder - for the Mental Support of the Elderly Living Alone,"" discuss results of a validation experiment for a robot developed with several objectives, including the 'reduction of the psychological burden on elderly people who live alone and applications as a pet and/or a speech partner and as an interface for outside communication through CATV to make their daily life safer. Fuj ita, in ""Personal Robot PaPeRo,"" tells about the objective of the development, design, function, and structure of the autonomous robot PaPeRo developed for communication with people in private households and reports the results of an experiment in which 12 families lived together with the robot for about 2 months. Miyake et al., in ""Interactive Simulation Ride System,"" present a simulation system with a high degree of virtual sense capability being achieved by a 3-6 mensional audiovisual perception data display using virtual reality technology and a ride system with 4 degrees of freedom. This system is already being used in amusement facilities and museums. Haga, in ""WonderBorg and BN-l,"" describes the concept of development, system structure, and control of an insect-shaped robot ""WonderBorg"" and a cat-like robot BN-I developed with the objective of offering interactive entertainment to people through assembling and programming robot. Nagasu, in ""Dream Force O1,"" tells about the concept of development and the structure of Dream Force 01, a bipedal locomotion robot that can be operated by the user for pleasure with the help of a robot controller. Omshi, in ""POO-CHI,"" discusses the design and the function of a dog-shaped robot toy POO-CHI that has become a hot seller all over the world. We thanks Japan Toy Culture Foundation on supports for preparation of developments reports.

ABSTRACT Le caratteristiche dei luoghi in cui viviamo influenzano il nostro comportamento individuale e sociale (Costa, 2013; Hall, 1968). Viviamo in spazi che, per motivi sia culturali che biologici, generalmente diamo per scontati ma che in realtà cambiano, spesso rapidamente, con l'introduzione di regole e oggetti che ne modificano strutturalmente il funzionamento e il ruolo sociale (Choay, 2004; Decandia, 2000, Gehl, 1996). Questi cambiamenti influenzano la trasformazione dei nostri modelli comportamentali e culturali (Zanetto, 2011; Staro, 2011; La Cecla, 1995) perfino nella più delicata fase di trasmissione culturale fra generazioni diverse, mettendo in dubbio l'auto-direzione culturale delle comunità. Il momento della festa comunitaria tradizionale (e talvolta al suo interno il momento della danza), è quello in cui vengono maggiormente modificate le strutture preesistenti con altre (dai festoni, all'allestimento di palchi e tendoni, etc), scelte dalla stessa comunità, per ospitare l'interazione sociale fra i partecipanti, in maniera da essa ritenuta più adeguata. Il confronto delle strutture e delle azioni nella festa e nei luoghi d'incontro quotidiani, può aiutare a comprendere se c'è congruenza e continuità fra quelli scelti per rimanere stabili e quelli continuamente rinnovati col passare del tempo. Considero strutture tutti gli elementi che danno forma allo spazio-tempo dell'ambiente di vita dell'uomo, influenzando il suo comportamento in qualche maniera. Quello che mi accingo a presentare è un metodo di analisi, trascrizione e descrizione dei sistemi di spazi condivisi e dei modi d’incontrarsi specifici di diverse culture (Hall, 1968; Rapoport, 1982). Esso è orientato ad identificare come le strutture (temporanee,1 durevoli2 e agite3), dell’ambiente di vita di specifiche comunità locali, influenzino la sincronizzazione4 (Bateson, 2010; Iacoboni, 2008) e relazione fra gli abitanti e con il loro territorio (Magnaghi, 2010), in un processo volto ad individuarne le analogie ed i tratti persistenti. In esso l’osservatore fa un’analisi di tipo fenomenologico (Husserl, 2009), partecipando alle attività sociali, così da poterne esplorare le sfaccettature dall’interno (Decandia, 2000). DEFINIZIONI: 1) Strutture temporanee: il set degli spazi modificabili e allestiti temporaneamente in cui agiamo rispetto alle altre persone (le bancarelle dei mercati, i palchi e gli striscioni nelle feste, etc.) La scelta della loro disposizione è influenzata dalle strutture durevoli. 2) Strutture durevoli: l'insieme e la disposizione delle caratteristiche fisiche e ambientali in cui l'essere umano agisce (spazio fisico, temperatura, luce, oggetti materiali, norme legali, etc.) e che sono difficilmente modificabili. 3) Strutture agite: lo spazio che creiamo con e fra il nostro corpo e quello degli altri, singolarmente o associati, (i passi, i percorsi e i gesti previsti in un tipo di movimento rituale, la linea che percorro quando cammino, la distanza a cui mi posiziono dalle persone, le traiettorie dell’avvicinarmi agli altri, etc.). 4) Definisco un soggetto sincronizzato rispetto al contesto quando può regolare la propria azione rispetto ad esso, in base alla ricezione e comprensione di un alto numero di feedback. Intendo dunque il processo di sincronizzazione come l’insieme di azioni e regolazioni reciproche, che consentono ai soggetti di agire fra loro e/o con l’ambiente in maniera sempre più efficace, controllata e consapevole (Bateson, 2010, parte 6; Iacoboni 2008, p.156, Goffman, 2007, p47). INGLESE: A method to analyse and compare the different types of structures that different cultures build, organise and in-act to create meeting culture and their effect on community recostitution. A system to evaluate the effect of organized environment on social synchronization that start from a parallel between local traditional dance event and daily community spaces. A tool to link tangible and intangible cultural heritage of local community.