Aesthetic Analysis Of The Black Piece
Analysis:
New aesthetic:
“The Black Piece” shares the main aesthetic change brought about by post-dramatic theatre which is the loss of representation of reality through mean of narration. When asked about the story behind the performance, the choreographer said there was none. On the contrary, the performance aimed at taking the audience into a journey of emotions and fantasies explored only through movements, which are themselves the centre of the performance as it’s through them that the journey takes place. In the performance, therefore the text is not present and equivalent forms are used to express meaning. These forms are mainly movements and gestures, which are not aimed at mimesis, rather they are expressive by themselves and therefore …show more content…
In this case the audience is not informed of the story behind the movement, nor the reason of it. Leaving out this information allows the audience to see the physicality of the feet as expressive by itself. Along with allowing the audience freedom in interpretation, this process allows the audience to make connections between the different movements. The movements in the performance, in fact, are not directly related as they are presented in a lyrical succession, that is focusing on the intensity of experience rather than in accordance with causality of actions. This focus on intensity of experience which goes beyond dramatic actions and turns the performance into a performance of states and scenically dynamic formations (68). That is a performance focused on its aesthetic figuration focusing on movements for their own sake, rather than on content. It can be said that this kind of performance replaces dramatic action with ceremony; that is, the “spectrum of movements and processes that have no referent, but are represented with heightened precision” (69). This spectrum is made by a variety of signs which constitute/makes up the basis/root of the new …show more content…
By deconstructing movements, time coherence is also disrupted, and the process happening with the post-dramatic body becomes evident. In the Black Piece, this deconstruction is most evidently present with a trio of three man. Here, the initial action is carried out by the actor with a leather jacked (that grinds at every movement), who portrays the action of putting it on and off in slow motion making every movement evident to the audience. Behind him two other men perform the same actions from different height, without the jacket. Taking turns in coming forward, the trio plays around with focus and perspective. Because the movement is repeated multiple times in slow motion by performers with and without a jacket, the the audience is able to focus on the physicality of the body. “When physical movement is slowed down to such an extent that the time of its development itself seems to be enlarged as through a magnifying glass, the body itself is inevitably exposed in its concreteness. 164”. This kind of deconstruction, therefore, is able to transform bodies into kinetic sculpture in slow motion and allows the audience to see bodies as gestures that is, beyond their dramatic movements. Deconstruction, however, is achievable also through mean of montage, which “includes actions taking place simultaneously in relative
New aesthetic:
“The Black Piece” shares the main aesthetic change brought about by post-dramatic theatre which is the loss of representation of reality through mean of narration. When asked about the story behind the performance, the choreographer said there was none. On the contrary, the performance aimed at taking the audience into a journey of emotions and fantasies explored only through movements, which are themselves the centre of the performance as it’s through them that the journey takes place. In the performance, therefore the text is not present and equivalent forms are used to express meaning. These forms are mainly movements and gestures, which are not aimed at mimesis, rather they are expressive by themselves and therefore …show more content…
In this case the audience is not informed of the story behind the movement, nor the reason of it. Leaving out this information allows the audience to see the physicality of the feet as expressive by itself. Along with allowing the audience freedom in interpretation, this process allows the audience to make connections between the different movements. The movements in the performance, in fact, are not directly related as they are presented in a lyrical succession, that is focusing on the intensity of experience rather than in accordance with causality of actions. This focus on intensity of experience which goes beyond dramatic actions and turns the performance into a performance of states and scenically dynamic formations (68). That is a performance focused on its aesthetic figuration focusing on movements for their own sake, rather than on content. It can be said that this kind of performance replaces dramatic action with ceremony; that is, the “spectrum of movements and processes that have no referent, but are represented with heightened precision” (69). This spectrum is made by a variety of signs which constitute/makes up the basis/root of the new …show more content…
By deconstructing movements, time coherence is also disrupted, and the process happening with the post-dramatic body becomes evident. In the Black Piece, this deconstruction is most evidently present with a trio of three man. Here, the initial action is carried out by the actor with a leather jacked (that grinds at every movement), who portrays the action of putting it on and off in slow motion making every movement evident to the audience. Behind him two other men perform the same actions from different height, without the jacket. Taking turns in coming forward, the trio plays around with focus and perspective. Because the movement is repeated multiple times in slow motion by performers with and without a jacket, the the audience is able to focus on the physicality of the body. “When physical movement is slowed down to such an extent that the time of its development itself seems to be enlarged as through a magnifying glass, the body itself is inevitably exposed in its concreteness. 164”. This kind of deconstruction, therefore, is able to transform bodies into kinetic sculpture in slow motion and allows the audience to see bodies as gestures that is, beyond their dramatic movements. Deconstruction, however, is achievable also through mean of montage, which “includes actions taking place simultaneously in relative