Dance and Corporality. The path of dance and its instrument

Abstract

Based on my experience and my interest for the role of dance not only in arts but also in society, I want to make an analysis of the body concept that has been presented in this art. In the first place, I will expose a historical contextualization in which I will analyze the
role of the body from the representations of the Greek tragedy to the beginning of the Opera, its acceptance by elites, and the beginning of the ballet as an art in society. Then I will analyze the proposal of Pina Bausch, who refreshes the artistic practices and explores other places that the ballet still did not dare to reach, for example the diverse possibilities of the body, the innovation of going from the simplest to the most complex when expressing an emotion, without leaving aside the figure of the dancer and the traditional dancer, but making a transformation of these. This proposal is born from the movements that are not necessarily stylized and beautiful. Theater and dance are combined and Pina Bausch accepts the challenge of making an artistic and political post-World War II proposal by showing difference as something positive. In fact she works with people from all over the world.
In this context I will focus on the way that the dancer perceives himself as an experimenter of the body who explores the movement, and a subject who is strengthened and sacrificed to be one with his expression, his corporality and his interpretation. I will finish with a
self-reflection from my experience with the social role of dance, and the attitudinal and corporal implications that I have perceived in the arduous work that this art represents.