L'Ombre du geste : le(s) sens de l'expérience en danse contemporaine
Details
State: Public
Version: After imprimatur
Serval ID
serval:BIB_EAF916BD2E29
Type
PhD thesis: a PhD thesis.
Collection
Publications
Institution
Title
L'Ombre du geste : le(s) sens de l'expérience en danse contemporaine
Director(s)
Barras Vincent
Codirector(s)
Thurner Christina
Institution details
Université de Lausanne, Faculté des sciences sociales et politiques
Address
Faculté des sciences sociales et politiques (SSP)
Université de Lausanne
CH-1015 Lausanne
SUISSE
Université de Lausanne
CH-1015 Lausanne
SUISSE
Publication state
Accepted
Issued date
2018
Language
french
Abstract
Cette thèse met en exergue ce qui se loge dans l’Ombre du geste dansant à partir d’une ethnographie des processus de création de trois compagnies installées en Suisse (Cie Nicole Seiler, Cie Massimo Furlan/Numéro23Prod, Cie deRothfils). La chercheuse s’est intéressée au processus de fabrication d’œuvres chorégraphiques qui abordent des questions existentielles (angoisse, solitude, rapports entre morts et vivants) et mettent en scène des ombres (esprits, fantômes, monstres). En mettant l'emphase sur l’œuvre chorégraphique en train de se faire, la dimension esthétique a été liée au contexte de production. Enrichie par une pratique personnelle de la danse, cette recherche est née d’une anthropologie phénoménologique et collaborative. La proximité avec les danseurs et chorégraphes a introduit la chercheuse au cœur des préoccupations de la création chorégraphique, et l’a amenée à partager les joies et les douleurs des corps affectés. Il y est question des ombres derrière le geste : les corps choisis pour porter le geste, les corps d’autrui présents dans la danse du soliste, les instructions du chorégraphe, les contraintes de l’improvisation, les sensations, l’univers de sens créé pour la pièce et le narrative (récit) inventé par l’interprète pour habiter son geste. La biographie du geste singulier est donc retracée dans son rapport au collectif. Avec l’appui de l’anthropologie et des études en danse, cette thèse contribue aux théories sociales du corps.
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Drawing upon an ethnography of production processes of three dance companies based in Switzerland (Cie Nicole Seiler, Cie Massimo Furlan/Numéro23Prod, Cie deRothfils), this thesis reveals what is present in the Shadow of the dancing gesture. The scholar explored the making process of dance plays, which treat existential questions (fear, loneliness, and relationships between the dead and living) and portray shadows on stage (spirits, phantoms, monsters). By emphasising the choreographic work being created, the aesthetic dimension has been linked to the contexts of production. This investigation was enhanced through a personal practice of dance, anchored in phenomenological and collaborative approaches to anthropology. Proximity with dancers and choreographers introduced the scholar to the core of choreographic creation, and lead her to share the pleasures and the pains of affected bodies. The thesis sheds light on the shadows behind the gesture: the bodies chosen to carry the gesture, the bodies of others present in the dance of the soloist, the choreographer’s instructions, improvisation’s constraints, sensations, and ultimately the universe of sense created for the play and the narrative invented by performers, to inhabit their gesture. The biography of a singular gesture is therefore traced in its tension with the collective. Supported by anthropology and dance studies in these ways, this thesis contributes to social theories of the body.
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Drawing upon an ethnography of production processes of three dance companies based in Switzerland (Cie Nicole Seiler, Cie Massimo Furlan/Numéro23Prod, Cie deRothfils), this thesis reveals what is present in the Shadow of the dancing gesture. The scholar explored the making process of dance plays, which treat existential questions (fear, loneliness, and relationships between the dead and living) and portray shadows on stage (spirits, phantoms, monsters). By emphasising the choreographic work being created, the aesthetic dimension has been linked to the contexts of production. This investigation was enhanced through a personal practice of dance, anchored in phenomenological and collaborative approaches to anthropology. Proximity with dancers and choreographers introduced the scholar to the core of choreographic creation, and lead her to share the pleasures and the pains of affected bodies. The thesis sheds light on the shadows behind the gesture: the bodies chosen to carry the gesture, the bodies of others present in the dance of the soloist, the choreographer’s instructions, improvisation’s constraints, sensations, and ultimately the universe of sense created for the play and the narrative invented by performers, to inhabit their gesture. The biography of a singular gesture is therefore traced in its tension with the collective. Supported by anthropology and dance studies in these ways, this thesis contributes to social theories of the body.
Create date
05/03/2018 12:46
Last modification date
20/08/2019 16:13