dc.contributor.author | Hansen, Pil | |
dc.contributor.author | House, Christopher | |
dc.contributor.editor | Bartosiak, Mariusz | |
dc.contributor.editor | Ciesielski, Tomasz | |
dc.date.accessioned | 2020-10-16T13:19:25Z | |
dc.date.available | 2020-10-16T13:19:25Z | |
dc.date.issued | 2017 | |
dc.identifier.citation | Hansen P., House C., Hay w wykonaniu House’a. Ocena zasad kreacji i wymagań poznawczych systemów performatywnych, [w:] Strategie choreograficzne. Nowe perspektywy, Bartosiak M., Ciesielski T. (red.), Wydawnictwo Uniwersytetu Łódzkiego, Instytut Muzyki i Tańca, Łódź-Warszawa 2017, s. 75-90, doi: 10.18778/8088-820-3.06 | pl_PL |
dc.identifier.isbn | 978-83-8088-820-3 | |
dc.identifier.uri | http://hdl.handle.net/11089/32332 | |
dc.description.abstract | How can we archive, pass on, and further develop dance works that are not set, but rather generated systematically on stage? In performance generating systems dancers respond to a specific set of tasks within restrictive rules and while recycling predetermined memories as source materials. To notate these systems we need to grasp and share the principles through which they generate movement interactions and not the composition, which they produce. The question of how these systems work is intrinsically linked to the ways in which they facilitate or inhibit cognitive processes of memory and perception. The systems challenge performers to remain self-aware and pay attention differently while responding to their memories within restraints. Through this process, performers arrive at a differently earned presence that represents a shift in performance epistemology. This shift is, in turn, met by an equally important shift in dramaturgical orientation from what a performance is to how it works and generates. In this chapter, Pil Hansen turns towards Dynamical Systems Theory from the cognitive sciences to develop an accessible and adaptable notation tool that implements these two shifts. Her proposal is advanced through a detailed discussion of how one can notate the choreographer Christopher House’s 2015 adaptation of I’ll Crane for You, a solo performance commissioning score by Deborah Hay. Hansen’s discussion is informed, infused, and complemented by House’s responses and reflections upon his practice. Between their two voices, insights into the strategies that dancers devise in response to the cognitive challenges of performance generating systems are discovered as key components of a DSTbased notation tool. | pl_PL |
dc.description.sponsorship | Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00. | pl_PL |
dc.language.iso | pl | pl_PL |
dc.publisher | Wydawnictwo Uniwersytetu Łódzkiego, Instytut Muzyki i Tańca | pl_PL |
dc.relation.ispartof | Bartosiak M., Ciesielski T. (red.), Strategie choreograficzne. Nowe perspektywy, Wydawnictwo Uniwersytetu Łódzkiego, Instytut Muzyki i Tańca, Łódź-Warszawa 2017; | |
dc.rights | Attribution-NonCommercial-NoDerivatives 4.0 Międzynarodowe | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/4.0/ | * |
dc.subject | Hay | pl_PL |
dc.subject | House | pl_PL |
dc.subject | kreacja | pl_PL |
dc.subject | wymagania poznawcze | pl_PL |
dc.subject | systemy performatywne | pl_PL |
dc.title | Hay w wykonaniu House’a. Ocena zasad kreacji i wymagań poznawczych systemów performatywnych | pl_PL |
dc.type | Book chapter | pl_PL |
dc.page.number | 75-90 | pl_PL |
dc.contributor.authorAffiliation | University of Calgary | pl_PL |
dc.contributor.authorAffiliation | Toronto Dance Theatre | pl_PL |
dc.identifier.eisbn | 978-83-8088-821-0 | |
dc.contributor.authorBiographicalnote | Hansen Pil – adiunkt na wydziałach teatru i tańca na University of Calgary, założycielka Vertical City Performance i dramaturg spektakli tanecznych oraz tzw. devised theatre. Bada dynamikę poznawczą pamięci i percepcji w procesach twórczych. Jej prace indywidualne są szeroko rozpoznawane i publikowane, jest także współredaktorką antologii Dance Dramaturgy: Modes of Agency, Awareness
and Engagement (2015) oraz Performing The Remembered Present: The Cognition of Memory in Dance, Theatre and Music (2017). | pl_PL |
dc.contributor.authorBiographicalnote | House Christopher – wielokrotnie nagradzany choreograf, performer, reżyser i nauczyciel. Dołączył do Toronto Dance Th eatre w 1979 r. i został jego dyrektorem artystycznym w 1994 r. Zagrał ponad pięćdziesiąt utworów z repertuaru TDT, był kuratorem i kręcił filmy krótkometrażowe. Swoje spektakl prezentował
na tournée po obu Amerykach, a także w Europie i Azji | pl_PL |
dc.references | Bauer B. (2015), Propensity: Pragmatics and functions of dramaturgy in contemporary dance, [w:] P. Hansen, D. Callison (red.), Dance Dramaturgy: Modes of agency, awareness, and engagement, Palgrave, Basingstoke. | pl_PL |
dc.references | Bleeker M. (2010), What if this were an archive?, „RTRSRCH: Notation”, 2(2). | pl_PL |
dc.references | Bogart A. (2001), Director Prepares: Seven essays on art in theatre, Routledge, London. | pl_PL |
dc.references | Drobnick J. (2006), Deborah Hay: A performance primer, „Performance Research”, 11(2). | pl_PL |
dc.references | Foster S. (2000), Foreword, [w:] D. Hay, My Body, the Buddhist, Wesleyan University Press, Middletown (CT). | pl_PL |
dc.references | Hansen P. (2015a), Th e dramaturgy of performance generating systems, [w:] P. Hansen, D. Callison (red.), Dance Dramaturgy: Modes of agency, awareness, and engagement, Palgrave, Basingstoke. | pl_PL |
dc.references | Hansen P. (2015b), Email interview with Christopher House (no. 1), 4 April, unpublished. | pl_PL |
dc.references | Hansen P. (2015c), Email interview with Christopher House (no. 2), 8 May, unpublished. | pl_PL |
dc.references | Hansen P., Oxoby R.J. (2017), An Earned Presence: Studying the Eff ect of Multi-task Improvisation Systems on Cognitive and Learning Capacity, „Connection Science”, 29(1). | pl_PL |
dc.references | Hansen P., House Ch. (2015), Scoring the Generating Principles of Performance Systems, „Performance Research”, 20(6). | pl_PL |
dc.references | Hansen P., Kaeja K., Henderson A. (2014), Self-organization and transition in performance generating systems, „Performance Research”, 19(5). | pl_PL |
dc.references | Hay D. (2000), My Body, the Buddhist, Wesleyan University Press, Middletown (CT). | pl_PL |
dc.references | Hay D. (2007), I’ll Crane for You, Solo Score, unpublished. | pl_PL |
dc.references | Hay D. (2013), Performance as Practice, Deborah Hay Dance Company website, htt p://dhdcblog.blogspot.ca (dostęp: 14.09.2013). | pl_PL |
dc.references | House Ch. (2006–7), Coaching Notes fr om Deborah Hay, Solo Performance Commissioning Residence in Findhorn, unpublished. | pl_PL |
dc.references | House Ch. (2015), Notes to Pil Hansen’s conference paper Th e Cognitive Dynamics of Performance Generating Systems…, 8 May, unpublished. | pl_PL |
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dc.references | Lepecki A. (2010), Th e body as archive: Will to re-enact and the afterlives of dances, „Dance Research Journal”, 42(2). | pl_PL |
dc.references | Lövdén M., Bäckman L., Lindenberger U., Schaefer S., Schmiedek F. (2010), A theoretical fr amework for the study of adult cognitive plasticity, „Psychological Bulletin”, nr 136. | pl_PL |
dc.references | Motion Bank (2015), www.motionbank.org (dostęp: 01.06.2015). | pl_PL |
dc.references | Th elen E., Smith L.B. (1994), A Dynamic Systems Approach to the Development of Cognition and Action, MIT Press, Cambridge. | pl_PL |
dc.identifier.doi | 10.18778/8088-820-3.06 | |