I find the use of the danceforms technology on the ballet body interesting in a number of ways here.
Firstly the conflict of tradition meeting innovation. Ballet, arguably the foundation style in western dance is inseparable from history, yet in ‘Centre Excerpts’ its connotations of institution are expressed in a medium which challenges that which has been before.
However, when considering how coded the ballet body may already be we may view its representation through danceforms as a natural progression.
Ballet steps are formalised and recorded- there is a correct and incorrect way to perform them, there are names and standardised descriptions for how each movement should be executed and the body itself strives for logic and a pleasing aesthetic- all notions we may parallel with a computer programme.
Further this, ballet values perfection in presentation while the human body must strive to overcome its inherent imperfections, something the ‘perfect’ danceforms figure has no concern with.
Could it be then that the danceforms ballet body is actually the perfect ballet body?
Almost definitely not, but perhaps one to discuss?
Tuesday 4 December 2007
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Perhaps the dance forms body is not the ideal or perfect dancer, but it does draw from ideas of how a modern, commercially succesful dancer’s physique should look.
There are many companies that break down this aesthetic tradition/expectation..look for instance at David Tooles work within DV8. It could also be interesting to examine just how useful dance forms (I mean as a notation tool, and not as an interactive virtual with the dancer) is to the choreography of dancer who does not quite fit this mould. (Toole is equally as talented, virtuosic and incredibly physical, with no legs he overcompensates the use of his arms to move him freely through the space)
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