Перформативниот капацитет на танцовото тело

Abstract

Performance is one of the most extensive research areas, primarily due to the range of topics/contents/aspects covering. As a rule initially interacts with the artistic performance of various kinds (drama, music, dance, visual design / arts, film, new hybrid genres etc.) But in this complex of performing practices are included all forms present in modern life that are related with the term (performance as a grip design in architecture, performance as agitation in politics, performance as a strategy in marketing, performance as skill in gastronomy, performance as an existential need in the ritual, etc.). From this risomic branched model first we limit ourselves in any general elevations pertaining to the performance as a performing art, art practice, mostly adhering to dance as a distinctive system. History of dance has been treated in detail and studious, unlike this discourse, the specific elements such as the body, space, energy, the semantics of a performance are almost completely bypassed as research provocations. Posture performance, the relation of the body as creator and emitter of messages in correlation with the elements that surround and conditions of creation will be analyzed in this article. Aesthetically refined bodies in the classical ballet brought to perfection, as opposed to individual, imperfect form of modern dancer, from virtuosity and unisonism to free dance movement, it is all result of series of stylish dialects. In addition they produce not only aesthetically different production, but different functionality and semanticity. The body treated as neutral matrix in the process of artistic articulation is filled with a certain semantic load, and it is a consequence of the factors that monitor performance in its broadest context. Dancing body will be analyzed as a promoter and projector of particularly set constant, the body as a specific medium that adapts to different creative models.