UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl)
UvA-DARE (Digital Academic Repository)
Digital dance: (dis)entangling human and technology
Gündüz, Z.
Publication date 2012
Link to publication
Citation for published version (APA):
Gündüz, Z. (2012). Digital dance: (dis)entangling human and technology. Rozenberg Publishers.
General rights
It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons).
Disclaimer/Complaints regulations
If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.
Appendices
1. Changes in European theatrical presentation
1c. 1650–1800 c. 1800–1900
The actor was raised on a platform in the same architecture space as the audience
The actor was raised on a platform in a different architectonic space from that of the audience – beyond a proscenium arch
Costumes served as a codified ‘trade uniform’ of acting with a charade-like indication or emblem of character and historical period.
Costume was consciously researched and designed, and tried to fully realize the dramatic character and the historical period.
Actors and audience shared an intense awareness of its individuality and of itself as a group
Actors occupied a brightly illuminated acting space with a corresponding reduction in light on the audience
The actors had an intense awareness of the
presence of the audience Actors had less awareness of the audience
Scenery was drawn from stock-used over and over again-painted by artists as generic scenes
Scenery was custom design and made for the production. It was considered disposable when the production was removed from the repertory.
Technology was on display and enjoyed as part of the spectacle – scene changes were visible.
Technology was still enjoyed as part of the spectacle, but was hidden behind architecture and scenes illusion. Scene changes were hidden.
Scenery served as an apposite, decorative
background to the performance-it did not provide an embracing, physical environment for the dramatic action.
The mode of theater was presentational and
rhetorical. The audience shared in the experience of performance; they laughed and wept together with the actors.
The mode of theater tended towards the representational; the audience witnessed a harmoniously conceived ‘other’ world; they were invited to be transported to become absorbed, anonymous spectators.
2. Changes in European theatrical dance presentation
118th century: from Court to Theater 19th century: Romantic to Classical Ballet
At the beginning of the century, dance was an integral part of the court. Towards the end of the century, dance shifted from court to theater and from a constant preoccupation in court to a profession performed by professional dancers. The end of the century witnessed certain reforms within the status of ballet as an art form, such as unison of elements in the story, introduced with the ballet d’action.
The ballet d’action of the eighteenth century provided the source from which ballet became a stand-alone art form, supported by music, décor, and costumes. Each element, such as music and costumes, was designed to complement and feed into the others with a unity of form and style not found in the eighteenth century.
Theatergoing was extremely popular with all of society, and the size of the auditorium expanded to accommodate the growing audiences. One evening’s performance included varied types of sensational dramatic fare.
Romantic ballet provided escapism from the realities of war, economic upheavals, and the drudgery of life. The dances were full evening length performances.
The dancer performed mostly on a relatively narrow area that crossed the stage in front of the audience. The stage was raked. Theater and assembly rooms were the common performance spaces.
The dancer was raised on a platform in a different architectonic space from that of the audience – beyond a proscenium arch. Theaters were the common performance spaces.
Scenery was painted using perspective, so the dancers had to remain downstage in order to appear taller than the paintings.
Stage design showed a tendency for simplicity. Painted scenery became the dominant stage design, which created a sense of interiority.
All change of scenery was made in view of the audience. The wings and shutters that made up the scenery were moved on-and offstage by means of a chariot system
Technology was part of the performance, but it was not visible for the view of the audience. Also scene changes were hidden. ‘Flying machines’ helped to create the illusion that the dancers were flying. A huge chandelier hung over the center of the stage,
and candles with reflectors hung on the wings for illumination of the stage area
Gaslighting replaced candles.
Costumes and footwear changed dramatically over the century: from exaggerated and heavy costumes to simple, muslin light dresses. Masks were discarded and shoes with heels were replaced with shoes without heels. This led to greater freedom of movement.
Pointe shoe technique was introduced and advanced. The long, white tutu became a symbol of the ballet of the romantic era. The female dancer became
prominent.
Audiences were rather noisy and made comments during the performance. Dancers had to retain the attention of the audience.
Scenic design and architectural reforms emphasized the degree to which audience and performers now assumed separate functions. Theatre remained an ideal place for audience members to see and be seen, but their socializing became restricted to before and after the presentation. Viewers felt less a part of a spectacle and more a voyeuristic presence that looked in upon it.
1 Kassing, Gayle. History of Dance. An Interactive Arts Approach. US: Human Kinetics, 2007: pp. 107-142,
Bland, Alexander. A history of Ballet and Dance in the Western World. London: Barrie and Jenkins Ltd, 1976: pp., Cohen, Jeanne, Selma. Dance as a Theatre Art. Dance Books Ltd: London, 1974: pp. 38-86, Foster, Leigh, Susan. Choreography and Narrative. Ballet’s Staging of Story and Desire. Indiana: Indiana University Press, 1996.
3. Stage plan of Apparition
«ÀiVÌÊÃâi {\ÎÊÀ>Ì x]ÎÎÊÊÝÊ{Ê vÀÊ£nÊ,} ÌÃ\Ê ÃÌ>`ÃÊÀÊ««iÃÊÌÊÕÌÊÌ iÊ Ê`vviÀiÌÊ i} Ìð**,/"
Ê «>}iÊÓ ÀÌÊ«ÀiVÌÊÊL`Þ® *ÀÝ>Êà ÀÌÊÌ ÀÜÊâÊ£]Î\£]Ê{\ÎÊÀ>Ì `ÃÌ>ViÊÊ «ÀiVÌÊÜ`Ì Ê>ÌÊÃVÀiiÊÈ]äÊ ,i>ÀÊ«ÀiVÌ Ã ÀÌÊÌ ÀÜÊä°n\£]Ê{\ÎÊÀ>Ì `ÃÌ>ViÊ{]ÓÈÊ «ÀiVÌÊ i} ÌÊ{Ê «ÀiVÌÊÜ`Ì Êx]ÎÎÊ `ÃÌ>ViÊvÀÊ «ÀiVÌÀÊÌÊÃVÀii Ê ÃVÀiiÊ i} ÌÊ{Ê £ÊÊqq ÓÊÊqq ÎÊÊqq {ÊÊqq xÊÊqq ÈÊÊqq ÇÊÊqq nÊÊqq ÊÊqq ÛiÀ>Ê«ÀiVÌÊÜ`Ì Ê>««ÀÝ°Ê]nnÊ L`ÞÊ«ÀiVÌÊë>Vi]Ê>Ý°ÊÜ`Ì ÊÈ]äÊ4. Dixon’s model of interactivity
1Navigation Participation Conversation Collaboration
Parties involved Single user
Single user Many audience
members
Multiple interactors Multiple interactors
Type of art form
CD-ROMs Interactive cinema Online narratives Computer games net.art and hypertext narratives Interactive cinema Interactive installations CD-ROMs Interactive installations Video-disc installations Immersive environments net.art Online narratives Interactive installations Type of technology Interactive DVD’s and CD-ROMs Game engines Interactive DVD’s and CD-ROMs Motion-sensing technologies Telematics Telerobotics Motion-sensing technologies Web-based technologies Motion-sensing technologies Agency of
interactor Limited Limited
Unrestricted to a
certain degree Unrestricted
Type of
communication Closed Closed
Open, to a certain degree Unrestricted Change in the artwork No No Yes, to a certain degree Yes
Narrative Yes Yes Yes Yes
1 This table summarizes Dixon’s description of the four categories of interactivity in Dixon, 2007: pp.
