Practice-led workshop:
Playful somaesthetics as performance practice
Somaesthetic
"Somaesthetics practices can engage in philosophy if the individual who participates in them develops a self-reflective inquiry into their embodied experience, to the extent that it contributes to a broader project of cultivating the experience of a plurality of values. Furthermore, somaesthetics is philosophical in nature because it promotes an embodied understanding of how the body shapes human experience." (Eric. 2016)
Play
I believe that play is a fundamental aspect of human development as it contributes to our social, emotional, and cognitive growth. Play encompasses both pleasurable and dangerous elements, offering occasional freedom and a departure from societal norms. The concept of play can be examined through various perspectives, such as the Greek myths of "Apollonian and Dionysian," which represent the dichotomy between order and chaos. Sicart (2022) emphasizes the importance of occasionally breaking free from conventional societal norms, while Huizinga (1970) explores the different meanings of play in languages, including its connection to the erotic sense. Cohen (2006) highlights the emotional and social aspects of play, which play a role in our early education and learning processes. Philosophers like Rousseau (1778) advocated for learning through play as a natural approach to education.
Performance practice
I have discovered that Performance Practice is a multifaceted and dynamic field that transcends the boundaries of different disciplines. It seamlessly integrates various elements and variations of art forms to create a unique and immersive experience for the performer and the audience.
I conclude based on my practice that “performance practice” is a captivating and ever-evolving realm of creativity. It is crucial to clarify that this is not about a theatrical presentation focused on theatricality, gaze, presence, and characters. Instead, it is a holistic approach to performance that encompasses a wide range of techniques and disciplines.
I consider that performance practice encourages performers to explore the limits of their physical and emotional capabilities, allowing them to tap into their creativity and express themselves in new and exciting ways. By incorporating elements of different disciplines, such as dance, clown, somatic practice, visual arts, drama and performers can develop a unique and personal style and even establish a new performing arts genre.
UPCOMING:
PAST:
Jan 2-5, 2024
Tanzfabrik, Berlin
Jan 15-21, 2024
Maat-Ccdc, Cairo (module)
Feb 18, 2024
Pro Dance Oxford, Oxford
Citation and Bibliography
Shusterman R.(2012). Thinking through the Body: Essays in Somaesthetics. Cambridge University Press
Mullis, Eric. 2016. "Dance, Philosophy, and Somaesthetics". Performance Philosophy 2 (1): 60-71. https://doi.org/10.21476/PP.2016.2136.
Cohen, D. (2006). The development of play. Croom Helm Series
Caillois, Roger (2001). Man, Play and Games. University of Illinois Press.
J. Huizinga (1970). Homo Ludens; a study of the play element in culture. Paladin.
Stephen N. (1990) Free Play: Improvisation in Life and Art. Penguin.
Images from Tanzfabrik by
Diego Andrés Moscos