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The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary
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Abstract: The aim of this paper (The body, medium-mirror between poetry’s writing and choreography? Body’s lines of Wilfride Piollet, between poetry and dance) is to show how the body, reflecting poetry and dance in the French contemporary era, allows us to approach these two arts in a new way. Since their respective codes imploded at the end of the XIX’s century, dance and poetry seem more and more involved with one another, but the link between them might not be very obvious. Therefore we will assume that poetry and choreography are two ways of writing that converse and redefine each other through the body, this one being the medium and the mirror of the two. We will demonstrate this hypothesis with the work of the French dance theorist and dancer, Wilfride Piollet. First we will see how dancing can be considered as Mallarmé’s ‘‘écriture corporelle’’, through Wilfride Piollet’s technique called ‘‘barres flexibles’’. Then we shall see how poetry can appear as a textual body, with the example of a choreographic adaptation, a "lecture corporelle", a corporeal reading of a poem by René Char. From there, and as a conclusion, we will try to define the concept of "corpoéticité", combining body and poetry. At a time where dance and poetry can’t be defined by very specific forms, we propose to use "corpoéticité" as a tool to identify today’s dance and poetry, yet not one the parallel of the other but one through the other, likewise dance through poetry and poetry through the body. The precise characteristics of this concept and its uses still have to be defined. For now, the paper’s interest resides in considering the body as a new way to comprehend, further than the usual aesthetic categories they’re confined in, what potential poetry and dance can have nowadays.
Keywords: French poetry, Stéphane Mallarmé, René Char, choreography, dance, Wilfride Piollet, body, corporeality, contemporaneity, writing. |
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