본문 바로가기
  • Home
Basic Search

The perceptual effect of the intermediality

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2009, 30(), pp.267-290
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : December 30, 2009

Seungbin Choi 1

1서강대학교

Accredited

ABSTRACT

It is common tendency that researches about intermediality in arts are made up in fields such as a combination of media, replacement of it, and the relation between media, but we will approach to intermediality of dance in another direction. The intermediality of dance is appeared at point where technic and rules which have traditionally established an art of dance is deconstructing, that is, the process of one-way communication and acceptance of dance is diminished and weakened. These results are due to plurality of ‘body’ as a media of dance. ‘Body’ as a media of dance has two meaning. One is body itself as an pure and material object, the other the presence of performing body. Here we have to note that body of spectator gazing at dance also acts as media which have the same meaning. The intermedialitic effects of perception in dance are produced by an interaction between body that is seen (dancer) and body that see(spectator). We will find the interactional possibility of corporeal perception in Merleau-Ponty’s conception of ‘body’. According to Merleau-Ponty, transferring reflective subject to body proper and body proper to flesh of world, the expression of subject is understood as a motility of body and it become a symbolic medium for world to express by itself. According to him, the motility of body does not have a meaning of movement but that of metamorphosis. Body transforms by itself as a demanding of sensing and percepting objects. At this point we find a clue to share the movement of dancer’s body with a meaning of spectator’s body. A manifestation of perceptional effect of intermediality in dance results from the transformation of body and extensional process of perception. According to Peter M. Boenisch, the intermediality in dance is generated by changes of perception, it is appeared through pre-existence technic of movement, deconstruction of spatial constitution mode, the process of re-mediation, and sonic effect of sounds of body. These effects of intermediality will become a methodology to solve a difficult problem of interpretation of meaning. We will consider corporeal intermediality at separations of technic and movements using common activities. Movements without technic transform corporeal perceptions of spectators who is gazing at dance. Spectators create a new meaning from a project of movement using own’s body, and active forces which have created from this process bring dance to perfection. Using multi-directional movement separated from the rules for spatial composition, they select an object of perception and composite an individual space. This is the very spatial intermediality in dance. Previously spectators have only tried to interpret a meaning of movement of some concentrated part, now we meet spectators who can choose by oneself and create a meaning. Also presupposing each epicenter in parts of body and transferring these focuses, we will find corporeal-spatial intermediality in works using body itself as a space. Composing of not movement into space but movemnet of space itself, to deconstruct the movement within and the frame of spatial relation is the very corporeal-spatial intermediality. From these, dancers not only act as communicators of meanings but also have a role to create meanings by oneself and compose a work of art. Sonic intermediality make reconsider the relation movement of body to a sound. Musics in dance have been used for an additional effect of movement expressions, we now may meet an acoustic dance using the sound of body, resonance and sound of breathing as a sonic. As these effects of sonics make spectators to project movements and breathes of dancers, spaces will be opened where body of spectators and body of dancers are interactive. This intermediality in dance arts is not only strategy for an innovation of dance arts, providing dancers and choreographers with a new tendency, but also essentially restipulate relations among choreographers who edit the stage, performance and textual space, acts of dancers who follow the choreography, and acts of spectators who gaze at and observe the dance.

Statistics

  • 273 Viewed
  • 1 Downloaded

Tools

Issue List

Citation status

* References for papers published after 2023 are currently being built.

Basic Search Advanced Search