Corpul ca poveste: dansul ca formă de narațiune emoțională și fizică

Authors

  • Cristina Maria Olar University of Arts Târgu-Mureș

DOI:

https://doi.org/10.46522/S.2025.01.1

Keywords:

body dramaturgy, narrative language, emotion, introspection, interaction

Abstract

Body as Story: Dance as a Form of Emotional and Physical Narrative
Body as Story explores how dance transforms movement into a narrative language as a way of exploring and conveying human experiences. The aesthetic function of dance transcends bodily barriers and transforms into a form of emotional communication in which the body becomes the protagonist of the narrative, narrating through movement the same conflicts, emotions and situations that are usually expressed in words. Performances by choreographers such as Pina Bausch, Merce Cunningham, William Forsythe, Anna Teresa De Keersmaeker, Sidri Larbi Cherkaoui, Gigi Căciuleanu, etc. have shown how movement can create an atmosphere of introspection, where time, space and rhythm are used to reflect the inner realities of the characters. Thus, dance becomes not just a physical act, but a narrative device that opens up new ways of understanding the human experience, where the body is both the messenger and the story. Choreographers create characters and stories through the dancer's body, and each movement says something about their inner feelings. In both choreographic and theatrical performances dance plays an important role in facilitating the psychological exploration of the characters, building conflicts, resolving them or intensifying the message intended for the audience. Through movement, the body becomes a fundamental element in the construction of dramaturgy, sometimes even possessing a textual function.

References

"ALEXANDROVA, Alena, 2003. Furious bodies, Enthusiastic Bodies. Performance Research, a journal of the performing arts, vol 8, Issue 4, pages 21-25, published online: 6 Aug. 2014.

BIG, Ioan, 2021.Gigi Căciuleanu: “Dansul prin definiţie este deja o scriere: core-grafie”. [online]. Zile și Nopți.Artă &Cultură/Teatru. [Accesat 3 Feb. 2025]. Disponibil la https://zilesinopti.ro/2021/06/04/gigi-caciuleanu-dansul-prin-defini tie-este-deja-o-scriere-core-grafie/

COOPER ALBRIGHT, Ann, 1997. Choreographing Difference - The Body and Identity in Contemporary Dance. Wesleyan: University Press.

DE STEFANO, Michela, s.a. Pina Bausch e Kurt Joss Biografie, Teatru Dans, Coregrafie, Operă și Video. [online]. Danza contemporanea. [Accesat 12 Dec. 2024]. Disponibil la https://www.danza-contemporanea.it/storia/pina-bausch/

LEPECKI, Andre, 2010. The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal, 42(2), pp.28-48.

MERLEAU PONTY, Maurice, 1999. Fenomenologia Percepției. Oradea: Editura Aion.

MORTHA, Laurine, 2015. Ceea ce corpul nu-și amintește, o resurgență a energiei originale de Wim Vandekeybus. [online]. Bachtrack.The classical music website. [Accesat 5 Feb. 2025]. Disponibil la: https://bachtrack.com/critique-what-the-body-does-not-remember-ultima-vez-le-centquatre-paris-avril-2015

SCIASCIA, Chiara, 2023. The infinite circle. The philosophy of body and movement of the Silver Lions TAO Dance Theatre. [online].VeneziaNews. [Accesat 10 Dec. 2024]. Disponibil la https://venezianews.it/people/il-cerchio-infinito-intervista-tao-ye-tao-dance-theatre/.

STOICESCU, Andreea, 2021. Despre dans și filosofie. Saeculum, vol 5, nr.1, pp.77-89, online.

TOMPOS, Monika, 2019. Sidi Larbi Cherkaoui: Pentru mine, dialogul reprezintă esența naturii umane. [online]. Revista Capital Cultural. [Accesat 10 Dec. 2024]. Disponibil la: https://capitalcultural.ro/sidi-larbi-cherkaoui-pentru-mine-dialogul -reprezintaesenta-naturii-umane/.

TUDOSE, Carina, 2013. Silviu Purcărete-portret în mișcare -Danaidele, fragment 4. [online]. TVR ART. [Accesat 8 Dec. 2024]. Disponibil la: https://www.youtube. com/watch?v=75IVga3rcto."

Published

30-06-2025

How to Cite

Olar, C. M. (2025) “Corpul ca poveste: dansul ca formă de narațiune emoțională și fizică”, Symbolon, 26(1 (48), pp. 7–15. doi: 10.46522/S.2025.01.1.