Aviv Vered
The Jerusalem Academy of Music and DanceJerusalem, Israel.
Front Psychol. 2017 May 16;8:776. doi: 10.3389/fpsyg.2017.00776. eCollection 2017.
This work explores to what extent the notion of abstraction in dance is valid and what it entails. Unlike abstraction in the fine arts that aims for a certain independence from representation of the external world through the use of non-figurative elements, dance is realized by a highly familiar object - the human body. In fact, we are all experts in recognizing the human body. For instance, we can mentally reconstruct its motion from minimal information (e.g., via a "dot display"), predict body trajectory during movement and identify emotional expressions of the body. Nonetheless, despite the presence of a human dancer on stage and our extreme familiarity with the human body, the process of abstraction is applicable also to dance. Abstract dance removes itself from familiar daily movements, violates the observer's predictions about future movements and detaches itself from narratives. In so doing, abstract dance exposes the observer to perceptions of unfamiliar situations, thus paving the way to new interpretations of human motion and hence to perceiving ourselves differently in both the physical and emotional domains.
这项研究探讨了舞蹈中的抽象概念在多大程度上是有效的，以及它包含了什么。与美术中的抽象不同，美术通过使用非具象元素力求在一定程度上独立于对外部世界的描绘，而舞蹈是通过一个我们极为熟悉的对象——人体来实现的。事实上，我们都是识别人体的专家。例如，我们能够从极少的信息（如通过“点显示”）在脑海中重构其动作，预测运动过程中的身体轨迹，并识别身体的情感表达。然而，尽管舞台上有人类舞者，且我们对人体极为熟悉，但抽象过程同样适用于舞蹈。抽象舞蹈脱离了熟悉的日常动作，违背了观察者对未来动作的预测，并脱离了叙事。这样一来，抽象舞蹈使观察者接触到对不熟悉情境的感知，从而为对人类动作的新诠释铺平道路，进而让我们在身体和情感领域以不同的方式看待自己。
