Abstract
Katan analyzes the dancing body as a means of expression. The chapter deals with the expressions of bodily movements, focusing on a case study from the opening sequence in Bellus, choreographed by Ohad Naharin and performed by Erez Zohar. The discussion integrates between the body as a medium for perception and of realization. Following aesthetic theories and the analyses in the former parts of the book, Katan propounds the comprehension of imminent integration between the perceptual processes of dancers, as an act of articulation, and the expressivity of bodily movements.
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Notes
- 1.
Wind (1931; 1993).
- 2.
Ibid, p. 30.
- 3.
Dewey (1934; 1980).
- 4.
Merleau-Ponty (1945; 2007).
- 5.
Dewey (1934; 1980), p. 62.
- 6.
Wind (1931; 1993), p. 31: “Frequent repetition of the same action leaves its traces.”
- 7.
Ibid: “All expression through movement of muscles is metaphorical, and subject to the polarity of a symbol.”
- 8.
Gärdenfors (2006).
- 9.
See: Aristotle Poetics. Anthony Kenny (trans.). New York: Oxford University Press, 2013, p. 49.
- 10.
Ibid, p. 20.
- 11.
See: William Schweiker, Mimetic Reflections; a Study in Hermeneutics, Theology and Ethics, New York: Fordham University, 1990, p. 8.
- 12.
Wind, (1931;1993) p. 31. In his analysis of memorial traces, Wind relates to Hering’s theory of unconscious memory. See: Samuel Butler, Ewald Hering, Edward von Hartmann, Unconscious Memory: a Comparison between the Theory of Ewald Hering and the Philosophy of the Unconscious of Edward von Hartmann, London: David Bogue, 1880.
- 13.
See mostly Chapters 4, 5, and 7 in: Dewey (1934; 1980).
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Katan, E. (2016). The Dancing Body as a Means of Expression. In: Embodied Philosophy in Dance. Performance Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-60186-5_21
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DOI: https://doi.org/10.1057/978-1-137-60186-5_21
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