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008			181003s2014 stk||||fr 00| u|eng u
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100	1		_aSutil, Nicolás Salazar _9136996
245	0		_aMathematics in Motion _b A comparative analysis of the Stage Works of Schlemmer and Kandinsky at the Bauhaus _cNicolas Salazar Sutil
260			_c2014 _aEdinburgh: _bEdinburgh University Press,
300			_a20 p.
520			_aRESUMEN: This essay looks at the seminal work of Bauhaus practitioners Wassily Kandisky and Oskar Schlemmer in terms of their multicisplinary approach to the performing arts, and the dance in particular. Whilst their contribution has been widely recognized in terms of a cross-pollination of ideas from the fine arts to the performing arts, this essay also addresses the influence that compositional methods, based on techniques derived from figural drawings, as well as the study of form and geometry, might have had in their choreographic practice. I argue that despite stylistic similarities, these works present a divergent approach to the question of a geometrized motion design, which schlemmer called "mathematics in motion". I discuss the concept of "abstract dance" promoted by Kandinsky, in terms of a visualistic method, where movement is rendered both as a succession of still images and as an imaginary process. Schlemmer, on the other hand, promoted a synthesis of abstract and physical, as part of a model for live performance known as "balletic mathematics". I expand on this distinction in terms of a differential sense schematic approach to movement, one being visual, the other proprioceptive. Landmark works produced by these artists during the Bauhaus years (1922-1933) are called upon as case studies, including Kandinsky's Dance Curves (after Gret Palucca), and Schlemmer's renowned Stäbetanz.
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 32, núm. 1,Summer 2014, p. 23 - 42
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