Publication: La Experiencia quinética: la danza y la lógica corporal como
herramientas de diseño
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2021-11-24
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Universidad Complutense de Madrid
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Abstract
Hablar de danza y de vestuario es hablar de un cuerpo en movimiento. El cuerpo genera un nexo de unión entre ambos campos y al mismo tiempo constituye la materia prima desde la que construyen. De este modo, el presente proyecto de investigación tiene como objetivo el replanteamiento del método de diseño de vestuario a partir de la incorporación del cuerpo y la experiencia quinésica como herramientas creativas. Nuestra tesis parte de la idea que el uso de las prácticas corporales y la participación del usuario pueden generar sinergias muy positivas y de forma bidireccional tanto para el campo del diseño como para la danza. Por un lado, analizando el campo de las artes escénicas y la performance, observamos cómo la mayoría de propuestas emplean el vestuario como algo ornamental. No obstante, el desarrollo del movimiento está directamente vinculado con el vestuario. Un ejemplo de ello es el cambio de paradigma que produjo Isadora Duncan a principios del siglo XX, cuando sustituyó la indumentaria del ballet por una túnica de inspiración griega, lo que le permitió bailar desde el torso. Este hecho propuso una nueva vía de movimiento que años después daría paso al desarrollo de la danza moderna. Así, pretendemos una metodología de diseño que parta del cuerpo y su propio movimiento para llegar a generar prendas que evoquen en nuevos lenguajes y narrativas escénicas...
Talking about dancing and costumes is to think about a body in motion. The body is related between both fields and at the same time constitutes the raw material from which they build. In this way, the present research project aims to rethink the costume design method based on the incorporation of the body and the kinetic experience as creative tools. The idea of our Phd is to use the body practices and user participation to generate very fruitful synergies in a bidirectional way for the field of design and for dance.On the one hand, analyzing the field of performing arts, we observe how most of the proposals use costumes as something ornamental. However, the development of the movement is directly related to the costumes. An example of this is the way of see produced by Isadora Duncan at the beginning of the 20th century, when she replaced ballet attire with a Greek-inspired tunic, which allowed her to dance from the torso. This fact proposed a new path of movement that years later improved the development of modern dance. Thus, we reflect on a design methodology based on the body and its own movement to create garments that proposes new languages and scenic narratives...
Talking about dancing and costumes is to think about a body in motion. The body is related between both fields and at the same time constitutes the raw material from which they build. In this way, the present research project aims to rethink the costume design method based on the incorporation of the body and the kinetic experience as creative tools. The idea of our Phd is to use the body practices and user participation to generate very fruitful synergies in a bidirectional way for the field of design and for dance.On the one hand, analyzing the field of performing arts, we observe how most of the proposals use costumes as something ornamental. However, the development of the movement is directly related to the costumes. An example of this is the way of see produced by Isadora Duncan at the beginning of the 20th century, when she replaced ballet attire with a Greek-inspired tunic, which allowed her to dance from the torso. This fact proposed a new path of movement that years later improved the development of modern dance. Thus, we reflect on a design methodology based on the body and its own movement to create garments that proposes new languages and scenic narratives...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 22/06/2021