Activating intersubjectivities in contemporary dance choreography

• Main Author: Tucker, April Nunes
• Published: Middlesex University 2009
• Subjects: 793.3
• Online Access: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548908

This doctoral project examines Maurice Merleau-Ponty's account of phenomenological intersubjectivity and addresses a gap between his account of intersubjectivity and intersubjectivities present in the contemporary dance event. This gap concerns a specific type of performative practice which highlights the tension between person and persona. In order to focus on this area of the gap, the methodologies of choreological studies, phenomenological intersubjectivity and original choreographic practice have been employed. There are current choreographers such as Jonathan Burrows, Atsushi Takenouchi and Angela Woodhouse as well as choreographers of the past such as those from the Judson Dance Theater whose work has revealed intersubjectivity. However, there has not yet been a reflective practitioner who has undertaken an analysis of Merleau-Ponty's ideas on intersubjectivity, questioned their relevance to the contemporary dance event and proposed developments to his account of intersubjectivity in relation to contemporary dance choreographic practice. The research proposes a new synthesised account of intersubjectivites which is a development of Merleau-Ponty's account of intersubjectivity and promotes this new synthesised account of intersubjectivities as more relevant to the contemporary dance event which values empathy, human connection and immediacy. The doctoral project undertakes a hybrid mode of investigation consisting of practice-based research and practice-led research to produce an outcome which is mixed-mode in format: a combination of academic and creative writing and DVD documentation. These processes of inquiry have prompted a shift in focus towards a part of the gap that addresses Contemporary Dance technique and has provoked a critique of this technique, looking instead to psychophysical training. This research therefore challenges European mainstream Contemporary Dance technical training today with an aim to promote a meaningful, experiential engagement between the maker, performer and audience.