“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me

This article investigates different modes of correlation between word and mouvement from Luis Abraham’s (2008) concept of productive mimesis. For this purpose, we analyze two Argentine dance works that can be included in the “aesthetics of emergence” (Laddaga, 2006): Disculpe, puede usted usted core...

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Tipo de recurso:: Article of journal

Fecha de publicación:: 2022

Institución:: Universidad Antonio Nariño

Repositorio:: Repositorio UAN

Idioma:: spa

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spelling	2022-10-172024-10-10T02:31:55Z2024-10-10T02:31:55Zhttps://revistas.uan.edu.co/index.php/nodo/article/view/144410.54104/nodo.v17n33.1444https://repositorio.uan.edu.co/handle/123456789/10709This article investigates different modes of correlation between word and mouvement from Luis Abraham’s (2008) concept of productive mimesis. For this purpose, we analyze two Argentine dance works that can be included in the “aesthetics of emergence” (Laddaga, 2006): Disculpe, puede usted usted coreografiarme (2007) by Laura Kalauz, and Arcadia (2017) by Bárbara Hang and Ana Laura Lozza. In both of them verbal language is used as scenic material creating images or situations which tension dance universe in different ways. We star by reviewing the concept of mimesis. Then we analyze the two pieces taking into account, firstly, how the “autopoietic loop” (Fischer-Lichte, 2011) between the performers of each piece and the spectators is established in them. Secondly, how the relationship between language and movement develops throughout the diegesis.  Este artículo investiga diferentes modos de correspondencia entre palabra y movimiento desde el concepto de mimesis productiva de Luis Abraham (2008). Para ello analizamos dos obras de danza argentinas que podemos incluir dentro las “estéticas de la emergencia” (Laddaga, 2006): Disculpe, puede usted coreografiarme (2007) de Laura Kalauz, y Arcadia (2017) de Bárbara Hang y Ana Laura Lozza. En ambas, el lenguaje verbal se usa como material escénico para crear imágenes o situaciones que se tensionan con el universo de la danza de diferentes maneras. Primero recorremos el concepto de mímesis y analizamos las obras teniendo en cuenta cómo se construye en ellas el “bucle autopoiético” (Fischer-Lichte, 2011) entre bailarinas y espectadores; segundo, analizamos cómo se desarrolla la relación palabra y movimiento a lo largo de la diégesis.application/pdfspaUNIVERSIDAD ANTONIO NARIÑOhttps://revistas.uan.edu.co/index.php/nodo/article/view/1444/1100Derechos de autor 2022 Universidad Antonio Nariñohttps://creativecommons.org/licenses/by-nd/4.0/legalcodehttp://purl.org/coar/access_right/c_abf2REVISTA NODO; Vol. 17 Núm. 33 (2022): Estéticas emergentes; 31-442346-092X1909-388810.54104/nodo.v17n33mimesisdanzalenguajemovimientoPerformanceDanzamimesisdancelanguagemovement“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me“¿Cómo puedo traducir la nada en movimiento?”: El problema de la mímesis en Arcadia y Disculpe puede usted coreografiarmeinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1http://purl.org/coar/version/c_970fb48d4fbd8a85Lazzaro, LauraCohen, Verónica123456789/10709oai:repositorio.uan.edu.co:123456789/107092024-10-14 03:46:10.561metadata.onlyhttps://repositorio.uan.edu.coRepositorio Institucional UANalertas.repositorio@uan.edu.co
dc.title.en-US.fl_str_mv	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me
dc.title.es-ES.fl_str_mv	“¿Cómo puedo traducir la nada en movimiento?”: El problema de la mímesis en Arcadia y Disculpe puede usted coreografiarme
title	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me
spellingShingle	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me mimesis danza lenguaje movimiento Performance Danza mimesis dance language movement
title_short	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me
title_full	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me
title_fullStr	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me
title_full_unstemmed	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me
title_sort	“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me
dc.subject.es-ES.fl_str_mv	mimesis danza lenguaje movimiento Performance Danza
topic	mimesis danza lenguaje movimiento Performance Danza mimesis dance language movement
dc.subject.en-US.fl_str_mv	mimesis dance language movement
description	This article investigates different modes of correlation between word and mouvement from Luis Abraham’s (2008) concept of productive mimesis. For this purpose, we analyze two Argentine dance works that can be included in the “aesthetics of emergence” (Laddaga, 2006): Disculpe, puede usted usted coreografiarme (2007) by Laura Kalauz, and Arcadia (2017) by Bárbara Hang and Ana Laura Lozza. In both of them verbal language is used as scenic material creating images or situations which tension dance universe in different ways. We star by reviewing the concept of mimesis. Then we analyze the two pieces taking into account, firstly, how the “autopoietic loop” (Fischer-Lichte, 2011) between the performers of each piece and the spectators is established in them. Secondly, how the relationship between language and movement develops throughout the diegesis.
publishDate	2022
dc.date.accessioned.none.fl_str_mv	2024-10-10T02:31:55Z
dc.date.available.none.fl_str_mv	2024-10-10T02:31:55Z
dc.date.none.fl_str_mv	2022-10-17
dc.type.none.fl_str_mv	info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion
dc.type.coar.fl_str_mv	http://purl.org/coar/resource_type/c_2df8fbb1
dc.type.coar.spa.fl_str_mv	http://purl.org/coar/resource_type/c_6501
dc.type.coarversion.none.fl_str_mv	http://purl.org/coar/version/c_970fb48d4fbd8a85
format	http://purl.org/coar/resource_type/c_6501
status_str	publishedVersion
dc.identifier.none.fl_str_mv	https://revistas.uan.edu.co/index.php/nodo/article/view/1444 10.54104/nodo.v17n33.1444
dc.identifier.uri.none.fl_str_mv	https://repositorio.uan.edu.co/handle/123456789/10709
url	https://revistas.uan.edu.co/index.php/nodo/article/view/1444 https://repositorio.uan.edu.co/handle/123456789/10709
identifier_str_mv	10.54104/nodo.v17n33.1444
dc.language.none.fl_str_mv	spa
language	spa
dc.relation.none.fl_str_mv	https://revistas.uan.edu.co/index.php/nodo/article/view/1444/1100
dc.rights.es-ES.fl_str_mv	Derechos de autor 2022 Universidad Antonio Nariño https://creativecommons.org/licenses/by-nd/4.0/legalcode
dc.rights.coar.spa.fl_str_mv	http://purl.org/coar/access_right/c_abf2
rights_invalid_str_mv	Derechos de autor 2022 Universidad Antonio Nariño https://creativecommons.org/licenses/by-nd/4.0/legalcode http://purl.org/coar/access_right/c_abf2
dc.format.none.fl_str_mv	application/pdf
dc.publisher.es-ES.fl_str_mv	UNIVERSIDAD ANTONIO NARIÑO
dc.source.es-ES.fl_str_mv	REVISTA NODO; Vol. 17 Núm. 33 (2022): Estéticas emergentes; 31-44
dc.source.none.fl_str_mv	2346-092X 1909-3888 10.54104/nodo.v17n33
institution	Universidad Antonio Nariño
repository.name.fl_str_mv	Repositorio Institucional UAN
repository.mail.fl_str_mv	alertas.repositorio@uan.edu.co
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“How can I translate nothing into movement?”: The mimesis in Arcadia and Excuse me can you choreograph me

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