Departmental Bulletin Paper <研究ノート>アンヌ・テレサ・ドゥ・ケースマイケル『《オットーネ/オットーネ》より池田扶美代のモノローグ』におけるダンスの場の構築
Construction of Place of Dance in “Monologue of Fumiyo Ikeda at the End of Ottone, Ottone”

佐原, 浩一郎  ,  Sahara, Kouichirou  ,  サハラ, コウイチロウ

37pp.175 - 188 , 2016-03-31 , 大阪大学大学院人間科学研究科 社会学・人間学・人類学研究室 , SOCIOLOGY, ANTHROPOLOGY, AND PHILOSOPHY Graduate School of Human Sciences OSAKA UNIVERSITY , オオサカ ダイガク ダイガクイン ニンゲン カガク ケンキュウカ シャカイガク ニンゲンガク ジンルイガク ケンキュウシツ
In this paper, it is examined how a place of dance is constructed in the video, “Monologue of Fumiyo Ikeda at the End of Ottone, Ottone” (6 minutes, while an opera is fl oating, dancer’s voice is played at normal speed, on the other hand a dancer’s body begins to be played in slow motion from in the middle), by Anne Teresa De Keersmaeker, as using the argument in The Logic of Sensation by Gille Deleuze. When the video begins to be played in slow motion, it seems that the video discloses details of the movements that cannot be caught in normal speed, whereas the voice does not change the reproduction speed. However the video should be treated as one of places of dance for De Keersmaeker who is a choreographer. Even if slow motion is made by reconstitution of quantitative time and has to appear with its general effects, it has to become a part of aspects of dance. The video itself is the fi gurative and is what we perceive. Therefore a way to escape from the fi gurative is related to construction of place of dance. This paper clarifi es how De Keersmaeker found a place of dance by arranging slow motion of video in the composition, while describing a relationship between materiality to work with the fi gurative and invisible power to produce the fi gurative.

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