ON DANCE DRAMATURGY

Autores

  • Guy Cools Fontys School of Fine and Performing Arts in Tilburg

DOI:

https://doi.org/10.22456/2236-3254.97633

Resumo

In 1994, Marianne Van Kerkhoven, the Flemish godmother of dance dramaturgy wrote a short, seminal article on the subject – Looking without pencil in the hand – of which the title alone is already a manifesto. This contribution builds further on Van Kerkhoven insights’: how the dramaturge has to stay necessarily invisible in the creative process (s)he is supporting; how in order to capture this invisible role, a lot of metaphors have been created. It continues with looking at the different roles I take up in my own practice: that of somatic witness, dialogue partner and editor. It concludes reasserting the practice of the (dance) dramaturge as a creative practice in which the whole body is involved and in which somatic proximity to the creative process is as important as critical distance.

 

Key words

Dance dramaturgy. Somatic witness. Dialogue partner. Editor.

 

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Biografia do Autor

Guy Cools, Fontys School of Fine and Performing Arts in Tilburg

 Dr. Guy Cools is a dance dramaturge. Recent positions include Associate Research Professor at the research institute Arts in Society of the Fontys School of Fine and Performing Arts in Tilburg, and Postdoctoral Researcher at Ghent University, where he finished a practice-based PhD on the relationship between dance and writing. He has worked as a dance critic and dance curator. He now dedicates himself to production dramaturgy, contributing to work by choreographers all over Europe and Canada. His most recent publications include The Ethics of Art: ecological turns in the performing arts, co-edited with Pascal Gielen (Valiz, 2014); In-between Dance Cultures: on the migratory artistic identity of Sidi Larbi Cherkaoui and Akram Khan (Valiz, 2015) and Imaginative Bodies, dialogues in performance practices (Valiz, 2016). With the Canadian choreographer, Lin Snelling, he developed an improvised performance practice ‘Rewriting Distance’ (see also: www.rewritingdistance.com) that focuses on the integration of movement, voice, and writing. Cools lives in Vienna.

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Publicado

2019-12-04

Como Citar

Cools, G. (2019). ON DANCE DRAMATURGY. Cena, (29), 42–52. https://doi.org/10.22456/2236-3254.97633