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| The Freedom of the Eye：Some Roots of an Unfocus | ||
| 作者 | Gehry, Brina Stephane |
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| 出版日期 | 1995 |
| 出版者 | New York University |
| 出版者網址 | http://www.nyu.edu/ |
| 出版地 | New York, NY, US [紐約, 紐約州, 美國] |
| 資料類型 | 博碩士論文=Thesis and Dissertation |
| 使用語言 | 英文=English |
| 學位類別 | 碩士 |
| 校院名稱 | New York University |
| 系所名稱 | Department of Performance Studies |
| 指導教授 | Siegel, Marcia B. |
| 畢業年度 | 1994 |
| 關鍵詞 | DANCE; FREEDOM |
| 摘要 | Apparent in the work of dancer and choreographer Merce Cunningham is an East Asian influence that can be attributed to his association with composer John Cage and their mutual interest in Zen Buddhism and the Chance methods of the I Ching. Cunningham's dances are dealing philosophically with the present tense and points of view. Abstract Expressionism is also evident in Cunningham's use of a non-literal, non-narrative, open field approach to composition. The open field of Cunningham's dances finds its precedent in Surrealism. Cunningham's choreographic process in many ways resembles the work of the Surrealist painter Rene Magritte. Magritte broke from the Surrealists' preoccupation with the unconscious, directing his attention to an objective level rather than a subjective one. Both Magritte and Cunningham extend the possibilities of meaning in their given disciplines, and both utilize methods of problem solving to this end, paying close attention to practical reality. According to Magritte and Cunningham, poetic mystery is found most astonishingly in the commonplace. This is closer to an Asian way of thinking, where there is no need to reconcile one state of mind with another. Looking at the visual landscape of Cunningham's dances, one can see that not only did he adopt the methods and philosophical stance of East Asia, but he also adopted an East Asian aesthetic. |
| 目次 | Introduction I. Isolating Components of Wisdom II. Emptiness Accommodates Everything III. The Disoriented Object IV. Conclusion— Embodiment: Camouflage Bibliography |
| 點閱次數 | 65 |
| 建檔日期 | |
| 更新日期 | 2016.04.06 |
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