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The poetics of the body in motion: Correlations between Alexander and the ideokinesis creation and performance of dance

Grant number: 14/21399-1
Support type:Scholarships abroad - Research
Effective date (Start): January 05, 2015
Effective date (End): June 04, 2015
Field of knowledge:Linguistics, Literature and Arts - Arts - Dance
Principal researcher:Julia Ziviani Vitiello
Grantee:Julia Ziviani Vitiello
Host: Nada Diachenko
Home Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil
Research place: University of Colorado Boulder, United States  


The dance derives from a subtle association between body, time and environment, which gives it a dynamism, seen on the scene as an image in constant transformation. These movements are due to the powerful connection between mind and body, considered a key factor for performance in dance from the first half of the twentieth century. This period witnessed the creation of methods and somatic techniques, an important contribution to the learning and refinement of movement which occurred in most cases, independently of dance techniques. Somatic emphasize the continuous traffic between movements that start inside the body to its external display, a process that in addition to being essential to realize and expand the vocabulary of movement, showed that effective learning could not be the traditional way so far used, that is, the simple imitation shown by copying the movement. As Alexander and ideokinesis techniques were pioneered consider as basic and important understanding of this influence in building the movement, one of the goals of this project will be to analyze and develop with researchers at the University of Colorado at Boulder the contributions coming from the process associate of the trial the contents of a triad: the somatic methods ideokinesis _ Alexander the dance techniques and creative processes. It is my goal also apply these results to the work of the dancers of the post-graduate and further investigate how these three points influence each other, as they shape themselves fundamental to the construction of the dancing body today.

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