By John Joseph Martin
Theoretical underpinnings of recent American dance.
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Additional resources for The Dance in Theory
Example text
These movement-sense receptors comprise certainly the busiest system in the entire body, for we are in a continual state of postural change, far greater than we realize, from the movement of the eyeballs in following an object, to the periodic contractions of the stomach. Besides the receptors in the muscle tissue, there are also semicircular canals in the ears which collaborate in recording data concerning our balance and tendencies to shift from it. If we did not have this testimony, we should be perpetually falling down, or even unaware of whether we were right side up or upside down.
Nevertheless, in the art dance of the present time, the routine approach that so grieved Noverre in the eighteenth century and the reformers who came after him, no longer exists. The overturning which took place in the wake of Isadora Duncan destroyed the old stereotypes pretty effectively. The dance today is singularly unfettered. There is nothing even approximately equivalent to the sonnet or the sonata, where a definite procedure is prescribed. Perhaps the nearest approach to it is the pas de deux which is still seen in the formal manner in revivals of nineteenth century ballets-and approximations of their style-that is, first, an adagio section in which the ballerina is exhibited by her partner; then a solo, called a variation, by each of them; and finally a coda in which they are together again, this time in allegro movements.
The separate elements of which a work is composed must be held together in such a way that a unified experience, a total meaning, will result which would not otherwise exist. Three major considerations control the procedure of the composer. He must obviously have in mind the function for which his work is designed, he must know what materials to choose and how to handle them, and he must be aware of the mechanism of response in his audience in order not to overtax or understimulate it. Again, it is precisely the same procedure as that which directs the chairmaker.