It was dark and cold inside the studio and the audience was rather. The show was merely about to get down. ‘Graffiti of the Celeste ‘ , a subsequence of dance public presentations with 6 terpsichoreans by The Arts Fission Company was presented that dark at The Esplanade Theatre Studio. I decided non to read the cusp they gave me at the door. Yes, this may sound a small unusual, but the ground I did that because I wanted to watch the show with no preexisting judgement. I wanted my senses to work hard that dark capturing and make fulling my empty head.
Siting on the far left off the phase, my eyes were seeking to set to the dark atmosphere. Equally shortly as the music started, a heavy white fume came from the dorsum of the phase and mistily the terpsichoreans were traveling behind water under the bridge lined corridors. My eyes caught some of the manus gestures made by the terpsichoreans and they are Buddha ‘s custodies places. I was perturbed between the dance moves with the music at the background. At first it felt rather upseting alternatively of delighting but as each motion progressed into different motions, so it was going more interesting. While my senses working to capture the minute, my head was holding its ain conversation. Every subdivision of the dance surprised me and made me inquire what ‘s the narrative and the message that the choreographer was seeking to convey? Why the music, the costumes and even the face looks of the terpsichoreans made me a small uncomfortable. But at the terminal, it is all back to the chief inquiry of what is the aesthetic and how does it refer to the dance?
At the really first, dance was a sacred signifier, which was performed in shrines and at the games at Olympia from the eighth century BC. A dance was performed in a circle in award of a God. A dance was besides becomes the centrepiece of the Greek Theatre. Today ‘s dance is different than the ancient times. Although some old signifiers of dances such as classical concert dance are still go on to be performed and appreciated by people from all over the universe. There is another signifier of dance called modern-day dance that developed in the twentieth century, the modern dance is demoing the no-rules type of dance, free-form manner of traveling across the phase. This free-form can be seen in the Graffiti of the Celeste, where the whole public presentation was used as the medium for the choreographer to convey her message to the audience. Angela Liong brought up her concerns about the fact that the environment keeps deteriorating. She shows them in the glooming dark scenes with a minimal lighting, agitated and anxiousness organic structure motions and music that sounds so curious playing at the background.
What is beauty? Before we even can reply the inquiry, it is of import for us to understand the cardinal value in dance and to set up a construct of beauty. In the book of Aesthetic Quality, Stephen C. Pepper said that it is bad gustatory sensation to state something is beautiful when it is dull and empty, or to state something is really beautiful when it lacks deepness and spread and strength. ( Stephen C. Pepper, p.246 ) This is a bad aesthetics judgement. A dance public presentation can be with a full set of beautiful outfits, expansive scenes but once more there is no strength in the whole of public presentation. It can be a series of really strong and dynamic motions but there is no narrative or any background that derives those motions. Then the dance is merely an empty set of motions. I can felt the strength of the work of Angela Liong in Graffiti of the Celeste through her terpsichoreans and the music that played in the background.
I candidly think that watching a classical concert dance is much easier than watching a modern-day dance. A classical concert dance public presentation normally will follow a narrative that many have already familiar with. For illustration, Swan Lake, Sleeping Beauty, The Nutcrackers are some of the favourites in classical concert dance. Therefore the aesthetics judgement normally should besides based on the ability of its terpsichoreans, scenes and besides the costumes. However, in modern-day dance, before we judge based on the ability of its terpsichoreans whether they are able to construe what the choreographers truly wanted, the choreographers ‘ thoughts and intents of the creative activity of the dance are going the beacon of the show.
The terpsichoreans are keeping an of import function in the procedure of aesthetic judgement. It is through the terpsichoreans that the audience should be able to experience the emotion of the choreographer and the message he or she is seeking to convey. A terpsichorean should be able to incarnate the psyche of the stage dancing. It is after the stage dancing so it is the performing artists ‘ undertaking to seek and experiment and happen the full dynamic possibility of the stage dancing. ( Pauline Koner, p.37 ) Although each performing artist has the single manner in construing the stage dancing, every one of them should present the dance with the same dynamic. Dynamicss in motion consists of three elements – clip, strength, and infinite scope. As mentioned before in the book of Aesthetic Judgment, once more, strength is besides keeping an of import function in a terpsichorean motion. Under the component of strength, the emotions stage otherwise for each terpsichorean and they play another of import function in specifying the aesthetics from the terpsichoreans ‘ side. ( Pauline Koner, p.44 ) Hence, it is when both choreographer and the performing artists fulfill their functions, flawlessness is reached, truth revealed, and beauty manifest. ( Jill Hoerter, p.19 )
I wonder if Plato would hold the privileged to be one of the audiences in Graffiti in the Celeste, how would he respond toward the whole show? His synoptic generalisation toward the art does non ever fit the today ‘s perceptual experiences of humanistic disciplines, particularly in dance. The aesthetic judgement for modern-day dance starts with the apprehension of the dynamic motions of dance. And how of import it is for the terpsichoreans to travel in deepness to the intent of the dance before they perform. The apprehension must travel deeper to the intent and the significance of the creative activity of that dance. The beauty of a dance public presentation lies beyond the motion and clip and infinite.