A kontaktimprovizáció definiálása
Keywords:
contact improvisation, Nagy József (Josef Nadj)Abstract
Defining Contact Improvisation
What happens when two moving people touch each other and focus on the sensations of gravity, the Earth and their partner (Lepkoff 2000, 61)? Can this question lead to one of the definitions of Contact Improvisation? What are those principles that keep the practitioners’ curiosity to investigate the dance form even today? Can the embodied knowledge of CI be seen or read in a composed movement? In this paper, I summarize the forming and development of Contact Improvisation from 1972, including its instigators. I also give an overview of its possible definitions by articulating its basic principles as a movement technique and highlighting its embedded presence in the American postmodern dance area as a performance form. I touch upon its appearance in Hungary and by a short photo analyzation I intend to illustrate the key elements of the technique to get closer to understanding this emerging dance form.
References
BANES, Sally, 2000. Terpszikhoré tornacsukában – Az amerikai posztmodern tánc története. Ford. Galamb Zoltán. Budapest: Planétás.
BARTLEY, Colleen, 2019. dancelifeworld. In: BIGE, Romain (szerk.). Steve Paxton: Drafting Interior Techniques. Lisboa: Culturgest.
COOPER ALBRIGHT, Ann, GERE, David (szerk.), 2003. Taken by Surprise – A dance Improvisation Reader. Middletown: Wesleyan University Press.
CURTIS, Jess, 1995. The man in the box. Contact Quarterly. 1995. Vol. 20, no. 1, 68.
DARIDA, Veronika, 2017. Eltérő színterek – Nagy József színháza. Budapest: Kijárat Kiadó.
FOSTER, Hal, 1992. Posztmodernizmus. In: PERTHŐ, Bertalan (szerk.). Posztmodern. Budapest: Gondolat, 246-254.
FULKERSON, Mary, 1996. Taking the glove wihtout the hand. Contact Quarterly. 1996.Vol. 21, no 1, 42.
GÁL, Eszter, 2020. „Az össztánckultúra nagy ajándéka” Interjú Nagy Józseffel. Budapest: kiadatlan interjú.
KOTEEN, David, STARK SMITH, Nancy, 2008. Caught Falling, The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas. Holyoke, MA: Marcus Printing.
LEPKOFF, Daniel, 2000. Contact Improvisation. Contact Quarterly. 2000. Vol. 25, no. 1, 62-63.
LEPKOFF, Daniel, 2004. Thought on Contact Improvisation: an issue of definition. Contact Quarterly. 2004. Vol. 29, no. 1, 64-65.
NOVACK, Cynthia J., 1990. Sharing the Dance: Contact Improvisation and American Culture. Madison: University of Wisconsin Press.
PALLANT, Cherryl, 2006. Contact Improvisation – An Introduction to a Vitalizing Dance Form. Jefferson, North Carolina: McFarland & Company, Inc. Publishers.
PAXTON, Steve, 2005. Is Contact Improvisation a Performance Art? 1977. Contact Quarterly. 2005. Vol. 30, no. 1, 21.
PAXTON, Steve, 1975. Contact Improvisation. The Drama Review: TDR. 1975. Vol. 19, no. 1, 40-42.
PAXTON, Steve, 1982. Chute transcript. Contact Quarterly. 1982. Vol. 7, no. 3-4, 16-17.
STARK SMITH, Nancy, 1986. Back in time. Contact Quarterly. 1986. Vol. 11, no. 1, 3.
STARK SMITH, Nancy, 2006. Harvest, One history of Contact Improvisation. Contact Quarterly. 2006. Vol. 31, no. 2, 46-54.
TOMPKINS, Mark. [Letöltés időpontja 2020. január 19.]. Elérhető: http://www.idamarktompkins.com/
TOPF, Nancy, 1988. Between Contact and Release. Contact Quarterly. 1988. Vol. 23, no. 1, 63-64.
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License.
This work is licensed under a CC BY Creative Commons Attribution 4.0 International License, which permits any use, reproduction, distribution, self-archiving and citation of the work as long as the authors are credited. The complete bibliographical data of Symbolon Journal must also be indicated, which you can find in the How to cite section on this page. If possible, please also place a link leading to the original publication. Copyright of articles belongs to the authors.
