The present document describes, articulates, and systematizes a research process concerned with the issues and implications of the digitization and mediatization of performing arts, focusing on contemporary dance/performance, within the pandemic and post-pandemic scenarios prompted by the SARS-COV-2 in the Portuguese context. After the decree to close all venues on March 12, 2020, numerous companies, artists, and cultural entities began an unprecedented sharing and dissemination campaign of programmatic content. A process that began with the distribution of works, mostly in video format, through social networks and online platforms, became more complex in a non-linear way, going through various transmutations throughout the two confinements that defined the years 2020 and 2021. We start from a historical context and study of the relationship between dance and video and its different models of interaction — record, video-dance and hybridism — using examples of works by artists such as Loïe Fuller, Maya Deren, Merce Cunningham and Anne Teresa de Keersmaeker. In this sense, the present dissertation explores the role of digital instruments and resources as either substitutes and/or complements to the historical “stage”, making a detailed analysis of the strategies adopted at a national level, and questioning their diffusion effectiveness as well as their continuity in the post-pandemic period.
|Date of Award||23 Jun 2022|
- Universidade Católica Portuguesa
|Supervisor||Laura Castro (Supervisor)|
- Contemporary dance
- COVID-19 pandemic
- Mestrado em Gestão de Indústrias Criativas