Transdisciplinarities and Reflections on Artistic Creation

 

Teacher: Bruna Piccazio

 

In addition to directing or heading a transdisciplinary artistic experimental project, especially those in which the goal was the union of dance with costumes and music, I also investigated and sought to raise awareness about old concepts that involve the subject. This search helped to understand the legitimacy of my work. For those interested in artistic creation, this awareness is essential, especially in the field of experimentation where the partnership between theory and practice only enriches the work.

 

Divided into three modules, the course identifies evolutions in the perspective on the relationship between music and the arts of the body throughout history. The musician-dancer, the dancer-musician, the musician-actor, the sound artist ... From the encounter of the arts on the same stage, to the proposition of the encounter of the arts in the same body.

 

Module I

 

Multisensory mythologies, relevant studies on prehistoric manifestations, musical systematization, the relationship of living bodies and their movements with the musical instrument and the construction of notations and codes. First signs of interlingual poetic construction in African and Eurasian cultures Creation myths and the importance of the acoustic sphere.

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Module II

 

The relationship between dance and music in the courts, the main partnerships between musicians and dancers of the great shows, music educators and the body, and clippings of artistic works in the evolution to performance and scenic music.

 

Module III

 

Discussion on the progression of artistic perception on the union of dance / gesture / movement and music languages: scenic music, movement music, gesture music, action music, dance music, sound art, etc ... and in what these spaces contribute to the understanding of different research today. At the end of the course, participants will be invited to reflect on the creative part in the production of contemporary interlanguage shows. For those who work with the creation and research on the relationship between languages, in a conscious way, it is necessary to reveal a study on codes, concepts, records and documents.

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As Hans Thies Lehmann said: “you cannot put the post-dramatic theater in the box of interdisciplinarity, because it risks falling into a pedantic and empty frame, instead of the most innocent experimentation of the attempt ...”.

 

Not so innocent, it is also necessary to define outlines of different types of relationships, in the case of an aesthetic plunge. To put all interlingual research in the same perspective is to discard the wealth of possibilities.