Research

Le travail d'interprétation de Érica Bearlz, Lavinia Bizzotto et Valeska Gonçalves du solo O que tinha de ser (2005), à Quasar Cia de Dança, à partir de leurs discours et de leurs expériences : quels outils, quelles méthodes et quelles influences ?

Master's thesis (2021)

Abstract

This research was based on the practice of three dance performers: Erica Bearlz, Lavinia

Bizzotto and Valeska Gonçalves. The case studies were used as a starting point to highlight

the specific ways in which each dancer works with the same choreographic excerpt, part of

the Quasar Cia de Dança's repertoire. The theoretical bases of the analyses are based on

dance studies that deal with the specificities of interpretation, as well as its connections with

related fields such as philosophy and cognitive sciences. The aim of this research is to

contribute to the dissemination of oral history in dance based on performers' discourses and

to the consideration of dancers as active collaborators in the creative processes and in the

spectator's experience.

Keywords: dance performance, dancers' discourse, auctoriality, dance creation process,

Quasar Dance Company

Link to the full text (in french): https://dumas.ccsd.cnrs.fr/dumas-03702518v1

La composition par partition dans Bestiole (2012) de Myriam

Gourfink : quelle place pour l'interprète ?

Master's thesis (2020)

Abstract

The use of scores in dance creation is present in different contexts, aesthetics and with

different objectives. In the case of Myriam Gourfink, it is based on a system specifically

designed with the stated aim of liberating interpretation. Using the case study of the piece

Bestiole (2012), I seek to analyse the extent to which the use of the score leaves the space for

interpretation free. In the specific case of Gourfink and the piece analysed, there is also the

collaboration of the dancers in creating the choreographic structure. The ultimate interest of

these questions is to collaborate in the opening of the debate on socio-political questions in

the processes of dance creation, particularly with regard to the place occupied by the

performer, from a process that highlights the tensions between freedom and responsibility.

Keywords: choreographic score, dance interpretation, real-time composition, dance notation,

choreography

Link to the full text (in french): https://dumas.ccsd.cnrs.fr/dumas-03702490v1