Ecologies of stage presence in dance and performance

Beskrivelse

The concept of stage presence in dance and theatrical traditions has been generally related to the intrinsic quality of the performer to enchant audience’s attention. By focusing primarily on the agency of the skilled performer, the classic model of stage presence conceals audience’s participation (Sherman, 2016). Scholars who adopted an enactive and phenomenological perspective to stage presence (Pini 2021; Pini 2019; Sherman, 2016; Zarrilli, 2009, 2012; Macneill, 2014) have tackled the view that conceives theatrical presence an individual prerogative of the performer, revealing and accounting for a more complex scenario.
Through a cognitive ecological and ethnographic approach, this paper investigates variations of presence in different dance practices and choreographic contexts: the case of the Ballet National de Marseille and the transmission of kinaesthetic knowledge during the re-creation of Emio Greco’s piece Passione (Pini & Sutton, 2021); interkinaesthetic sense of agency and the co-creation of presence in Contact Improvisation (Deans & Pini, 2022; Pini, McIlwain & Sutton, 2016); environmental attunement and ecological agency in Body Weather, a radical movement ideology informing the short dance film AURA NOX ANIMA by Australian visual artist Lux Eterna (Pini, 2022; Pini & Deans 2021).
By exploring how stage presence emerges kinesthetically in dance and how dancers articulate their lived experience of presence, this work frames phenomena of presence in an embodied ecological sense. This work shows how different dance and performance ecologies shape and inform conceptions of stage presence across different traditions.

Periode	7. jul. 2022
Begivenhedstitel	15th NOFOD Conference: Moving, relating, commanding: Choreographies for bodies, identities and ecologies
Begivenhedstype	Konference
Placering	Copenhagen , DanmarkVis på kort
Grad af anerkendelse	International