The purpose of this study is to analyze a French choreographer Jérôm Bel’s choreographic method which uses narrative and quoted dance, in ‘dancers series’ - Véronique Doisneau, Lutz Fürster, and Pichet Klunchun and Myself. In the dancers series, narrative is the medium of dance rather than vise versa. He highlights reality over fiction, equalizes performers and audience, and emphasizes procedure rather than end product in order to get rid of illusion that classical choreographies try to achieve. He has expanded the concept of choreography to the arrangement of dailiness without creating new movements that represent narrative with illusory effects.
The purpose of this study is to analyze the narrative and readers' response to dance in the webtoon 「Nabillrera」. The results of the narrative analysis are 3action, 4happenings, 5characters and 3setting constitute in story element. discourse structure of the narrative centers on prejudice about ballet of old man. Scroll tempo, background music, ballet technical term, mimetic word are elements influencing the fun, tension, immersion of narrative webtoon. The results of the response analysis are education & knowledge share ,connection of personal experience, immerse of virtual and reality regard, support about OSMU (one source multi uses), opinion suggestion, self development motive and indirect experience of ballet.
In the era of the 4th industrial revolution, artificial intelligence (AI) has made a great breakthrough owing to network activation, information revolution, and innovative deep learning techniques. Recently, artificial intelligence is expanding the area of its application into the field of arts. In the era of the 4th industrial revolution, the arts are also facing a time of their paradigm shift. In this context, this study explores artificial intelligence techniques, which are at the center of the era of the fourth industrial revolution, their role in creative activities, the current status of convergence between artificial intelligence and the art of dancing, and the potential for the future development of the convergence. In the future, collaboration with artificial intelligence technology can be a creative source for artists and will develop into a new level of expression of a complex structure of dance.
In the 21st century of arts, the art of dance should be recognized as having nfinite value in professionalism and as an rtistic field and it requires a sustainable support system that can guarantee autonomy and independence.
This study researched the measures to establish a sustainable support system based on National Culture and Arts Support policy to draw the following conclusion.
First, a legitimate and systematic policy should be established.
Second, Institutional devices should be established to deliberate the long-term growth potential of the works of performing arts, not evaluations for one-time performances, and a system of fairness, diversity, and expertise should be established.
Third, a long-term support system should be established based on each field's characteristics through communication between fields.
Fourth, arts support institutions should promote innovation through communication regarding professionalism and specialty of each field.
This study explores how the theory of imagination suggested by Gaston Bachelard can be applied to establish a basis for an effective teaching education that pursues of creative thinking and imaginative expression for students majoring in dance. In dance, the beginning point of imagination is personal experiences of unique emotion, and such experiences become the basis for creativity, which can be furthered by imagination. In other words, it is movements based on puissance of liberty, and in terms of education, the theory of imagination of Gaston Bachelard shows the basis to expand creativity.
Therefore, this study aims to expand the mental and functional ability of movements through psychological inner desires of students majoring in dance and specific stimulus, and in motion based on their pure experiences, to shed light on true energy and meaning which imagination excercise has.
This research applies Merleau-Ponty’s phenomenology of perception in order to study the dance language Gaga developed by Ohad Naharin. Gaga is the main training method of Batsheva Dance Company. It helps the dancers develop and advance their movements’ precision and sensibility. In Gaga, dance experience is always innovative. For exploring the experience and essence of the body, phenomenology is undoubtedly the most appropriate research method. Through the perception, intentionality and body schema of Merleau-Ponty, this study explains the characteristics, significance and training objectives of Gaga. In addition, the contradiction points existed in Gaga have been also explained by the conception of phenomenology belonging to Merleau-Ponty. It proves the academic significance of the methodology of phenomenology in the study of dance as well as the practical significance for the practical process of dance.