Notes per al treball del personatge en la dansa

Abstract

If in theatre doubt has been cast on the character as a figure and he has been diagnosed as suffering from a profound crisis, in dance this is especially the case with movement, given that it is a means of expression. Indeed, for many years, the character in the performing arts has ceased to be the sole means of upholding meaning and he has been gradually stripped of personality and status. In theatre and in dance, the character has experienced countless vicissitudes to the point where his death has been announced. From the time of classical repertoire to today’s modern dance, the character has undergone change, has witnessed alteration, has been infused with a host of artistic currents and has adapted to the new narrative and choreographic structures; however, as with theatre that is polymorphous and changing, the character remains present and is a vital element in understanding and generating a large body of today’s choreographic proposals.

In view of the fact that few studies have been conducted on character in dance, our aim is to provide a tiny contribution in this regard by taking down certain notes and designing road maps in order to pave the way for further examination on the issue. We proceed to review the foremost options from work on the character throughout the history of dance, grouping the various working proposals into two fundamental operating groups in order to study them further: work based on alterity and work based on the persona of the dancer. We then examine the decisive elements in the character of dance (abstraction and the danced movement) and go on to conclude with a number of working proposals.