- Contemporary Performance Art in the Context of Digital Arts and New Media, Philosophy of Dance and Theatre Arts, Cognitive Dance Studies, Media Arts and Sciences, Contemporary Dance, Screendance, and 7 moreVideodance, Choreography, Choreography (Research Methodology), Architecture and Choreography as Interdisciplinary Practice, Digital dance performance, Dance Studies/ virtual and live performance/ the body, and Digital Humanitiesedit
- Letizia Gioia Monda is a Researcher in Performing Arts field of study at the University of Turin. She has been Adjunc... moreLetizia Gioia Monda is a Researcher in Performing Arts field of study at the University of Turin. She has been Adjunct Professor at the Sapienza University of Rome where she did teach Performing Arts and New Media at the School of Architecture, and Digital Technology for Dance and Theatre Performance and Digital Choreographic at the School of Humanities. At the same university, she got a PhD in Digital Technologies and Methodologies for Research in Performing Arts in 2014. For the project Clash! When Classic and Contemporary Dance Collide and New Forms Emerge (Creative Europe Program - EU), as part of the Sapienza University of Rome team directed by Vito Di Bernardi, she developed the methodology Clash! Professional Empowerment Strategy on Dancer Training, Audience Development, Marketing and Communication (Di Bernardi – Monda 2019); furthermore, she coordinated the development of the Clash! eBook and directed the digital event Clash! International Festival. As a member of the équipe from the Sapienza University of Rome, she curated the screendance archive of Il Coreografo Elettronico Festival stored at Museo Madre of Naples. Her publications are about: choreographic counterpoint, the concept of score in the dance field, digital choreography, screendance, and choreographic architectures. On January 2022, she achieved the National Scientific Qualification as Associate Professor in the Italian higher education system for the Academic Recruitment Field 10/C - Cinema, music, performing arts, television, and media studies.edit
This paper aims to draw attention to the relationship between dance and architecture. After a historical and conceptual contextualisation, it sheds light on how the term choreography evolved its meaning along the twentieth century,... more
This paper aims to draw attention to the relationship between dance and architecture. After a historical and conceptual contextualisation, it sheds light on how the term choreography evolved its meaning along the twentieth century, indicating a dispositif for building a new ecology of the participative performance experience. In these terms, choreographic architectures can be recognised when in real and metaphysic spaces, movement strategies are planned to activate processes through which human dancing engages with the surrounding environment. This phenomenon is studied by comparing William Forsythe’s theory of the “choreographic object” with some installations performed in urban environments. Finally, to provide an enlarged vision of how a choreographic strategy can cooperate in building a performative ecology to regenerate the inhabiting contexts with the acting presences of socially empowered citizens, my analysis ends with the description of Asingeline and Garden State, two embl...
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È possibile studiare l’intelligenza coreografica attraverso il suo processo di digitalizzazione? Riconoscendo nella metafora (Lakoff-Johnson, 1980) la chiave per investigare il processo di transcodificazione del pensiero coreografico dal... more
È possibile studiare l’intelligenza coreografica attraverso il suo processo di digitalizzazione? Riconoscendo nella metafora (Lakoff-Johnson, 1980) la chiave per investigare il processo di transcodificazione del pensiero coreografico dal medium fisico a quello digitale, in questo saggio verrà affrontata un’analisi sui processi creativi che hanno condotto alla realizzazione del Motion Bank Digital Dance Score: Using the Sky - An Exploration of Deborah Hay’s solo No Time to Fly. L’obiettivo è proporre un’ipotesi metodologica per capire come, a partire dalle metafore verbali che Deborah Hay ha codificato nella sua pratica per guidare i danzatori nell’esplorazione del pensiero fisico, l’intelligenza coreografica sia migrata da un corpo ad un altro, fino ad essere oggettuata prima oralmente attraverso metafore visive, poi attraverso una forma di coreo-grafia che nello score cartaceo già combina insieme analogicamente due forme di meta-rappresentazione del pensiero; e come infine la tecno...
Il saggio intende analizzare la questione che ruota intorno il processo di digitalizzazione del pensiero coreografico riferendosi in particolare all'esperienza della Motion Bank di William Forsythe. Attraverso l'analisi dei... more
Il saggio intende analizzare la questione che ruota intorno il processo di digitalizzazione del pensiero coreografico riferendosi in particolare all'esperienza della Motion Bank di William Forsythe. Attraverso l'analisi dei processi che hanno condotto allo sviluppo del Motion Bank digital dance score “Using the Sky - An Exploration of Deborah Hay's solo No Time to Fly”, e lo studio dell'"oggetto coreografico" identificato nell'adattamento digitale del solo a cura del graphic designer Amin Weber, l'articolo sostiene la tesi che vi è un enorme raggio d'azione in cui il pensiero coreografico può manifestarsi
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ABSTRACT The document reports on the use of digital dance annotation in teaching students who come from different disciplines how to apply their own forms of dance-writing to support reading and making choreography. During classes, the... more
ABSTRACT The document reports on the use of digital dance annotation in teaching students who come from different disciplines how to apply their own forms of dance-writing to support reading and making choreography. During classes, the Motion Bank System PieceMaker was used to support processes of investigation including the movement analysis of different dance techniques and the reenacting of body traces inscribed in choreographic paper scores. This report will describe three experiments conducted by students of the interdisciplinary classes in Digital Choreography at the Sapienza University of Rome. It will conclude with some speculation on the role digital dance annotation can play in the creation of new teaching methods in performing arts.
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This essay draws attention to the screendance archive of Il Coreografo Elettronico Festival stored within Museo Madre of Naples and curated in collaboration with a team of scholars from the Sapienza University of Rome. By exploring the... more
This essay draws attention to the screendance archive of Il Coreografo Elettronico Festival stored within Museo Madre of Naples and curated in collaboration with a team of scholars from the Sapienza University of Rome. By exploring the conceptual model of the term choreographic object (Forsythe 2008-2018), the article explains how Il Coreografo Elettronico Archive can provide a transversal case of study through which analyse the increasing presence of dance/choreographic exhibitions within museum spaces from three different perspectives. Long the paper, the concept of anarchive (Massumi-Manning 2016) is applied as a central principle of the research. It is used as an approach to link the three perspectives together and to explain how the exhibition of choreographic objects within museums can reconfigure the social empowerment in the contemporary environment.
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Sia in teatro che fuori dal teatro, cioe sia per il performer che per l’essere umano ordinario, il lavoro sul corpo, con il corpo in movimento rappresenta il primo e principale aspetto del lavoro su se stessi e, allo stesso tempo,... more
Sia in teatro che fuori dal teatro, cioe sia per il performer che per l’essere umano ordinario, il lavoro sul corpo, con il corpo in movimento rappresenta il primo e principale aspetto del lavoro su se stessi e, allo stesso tempo, costituisce la prima imprescindibile tappa nel cammino verso l’azione cosciente, quella che in teatro e l’“azione nella percezione”, il pensare-in-movimento . Questo pensiero cosciente, che nella sua elaborazione e per il suo significato coinvolge l’intero background della persona, e un azione che emerge solo quando il performer e presente e allo stesso tempo dinamicamente coinvolto interamente nell’ambiente: e quella coscienza percettiva che supera – perche integra - la pianificazione dell’azione con l’esecuzione della suddetta azione. Il pensare-in-movimento e un processo dinamico che non e possibile codificare: e un linguaggio che chiede di essere vissuto per poter essere compreso e appreso. Dunque, che cos’e lo Score ? Un concetto, un metodo di movimen...
Research Interests: Humanities, Art, Choreography, Counterpoint, Score, and 3 moreAlgoritmo, Motion Bank, and Dance Scores
La scelta di conseguire un’indagine pragmatica riflette il nodo cruciale che interessa la questione metodologica inerente agli studi teatrali, ossia quello costituito da teoria e pratica. Proprio in relazione a tale questione, ho voluto... more
La scelta di conseguire un’indagine pragmatica riflette il nodo cruciale che interessa la questione metodologica inerente agli studi teatrali, ossia quello costituito da teoria e pratica. Proprio in relazione a tale questione, ho voluto contestualizzare tale ricerca all’interno di una realta performativa unica nel suo genere: Motion Bank, l’ultimo progetto interdisciplinare del coreografo William Forsythe, che dal 2010 al 2013 ha provveduto a creare uno spazio d’indagine nella pratica coreutica. Grazie all’utilizzo di nuove tecnologie, e soprattutto grazie all’interdisciplinarita della sua realizzazione, Motion Bank sta fornendo preziosissimi dati che arricchiranno in maniera determinate i termini del sapere teorico-pratico inerenti all’azione performativa dell’essere umano. Il progetto di ricerca, dunque, si e basato sull’utilizzo di studi e metodologie d’analisi, materiale documentaristico e interviste. Per quello che riguarda il lavoro sul campo, mi sono trasferita a Frankfurt am...
Research Interests: Humanities and Art
The contribution focuses on the analysis of choreocinematic artifacts coming from a creative process that is aimed at the cross pollination between dance, cinema, and digital graphic design. Those works represent important subjects to... more
The contribution focuses on the analysis of choreocinematic artifacts coming from a creative process that is aimed at the cross pollination between dance, cinema, and digital graphic design. Those works represent important subjects to understand how, through the years, videodance language developed and which methodologies we should adopt in order to properly analyze them, making available and readable the tacit knowledge coming from this performative practice. The article proposes a method to study from a choreological perspective the negotiation of cinema and choreography based, in particular, on the plural authoriality, or rather on the relation among the director and the choreographer in videodance creative process. Cases of study are the works: Un Trait D’Union by Angelin Preljocaj (1992); Alle der Kosmonautan by Sasha Waltz (1998); and Here After by Wim Vadekeybus (2007).
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Research Interests:
The contribution focuses on the analysis of choreocinematic artifacts coming from a creative process that is aimed at the cross pollination between dance, cinema, and digital graphic design. Those works represent important subjects to... more
The contribution focuses on the analysis of choreocinematic artifacts coming from a creative process that is aimed at the cross pollination between dance, cinema, and digital graphic design. Those works represent important subjects to understand how, through the years, videodance language developed and which methodologies we should adopt in order to properly analyze them, making available and readable the tacit knowledge coming from this performative practice. The article proposes a method to study from a choreological perspective the negotiation of cinema and choreography based, in particular, on the plural authoriality, or rather on the relation among the director and the choreographer in videodance creative process. Cases of study are the works: Un Trait D’Union by Angelin Preljocaj (1992); Alle der Kosmonautan by Sasha Waltz (1998); and Here After by Wim Vadekeybus (2007).
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A partire dall'esperienza della quinta edizione del Festival Più Che Danza!, tenutasi a Milano a novembre 2018, il saggio presenta una riflessione sul modo in cui le tecnologie hanno influenzato le nostre capacità relazionali e i nostri... more
A partire dall'esperienza della quinta edizione del Festival Più Che Danza!, tenutasi a Milano a novembre 2018, il saggio presenta una riflessione sul modo in cui le tecnologie hanno influenzato le nostre capacità relazionali e i nostri sistemi di comunicazione nell'era digitale. L'articolo discute il concetto di ek-stasis, sviluppato dal filosofo Pietro Montani, come presupposto per presentare il principio del "vuoto" quale elemento fondante della dialettica performativa contemporanea.
From the experience of the 5th edition of Festival Più Che Danza!, which took place in Milan on November 2018, this essay presents a reflection on how, in the digital era, technologies are influencing our relational skills and systems of communication. The article argues the concept of ek-stasis, developed by the philosopher Pietro Montani, as an assumption to introduce the principle of "emptiness" as founding element of a contemporary performative dialectic.
From the experience of the 5th edition of Festival Più Che Danza!, which took place in Milan on November 2018, this essay presents a reflection on how, in the digital era, technologies are influencing our relational skills and systems of communication. The article argues the concept of ek-stasis, developed by the philosopher Pietro Montani, as an assumption to introduce the principle of "emptiness" as founding element of a contemporary performative dialectic.
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Following the ideology proposed by the Motion Bank Community – i.e. using an interdisciplinary methodological approach that puts in dialogue theory, practice, science and new digital technologies – this text suggests the reading of the... more
Following the ideology proposed by the Motion Bank Community – i.e. using an interdisciplinary methodological approach that puts in dialogue theory, practice, science and new digital technologies – this text suggests the reading of the choreographic counterpoint throughout the
analysis of the concept of “focus”.In this article, I mean by choreographic counterpoint the synchronous movement between dancers during a live performance. Through the interviews
made to some performers-researchers-choreographers and collaborators with The Forsythe Company – Dana Caspersen, Nicole Peils, Fabrice Mazliah and Tillman O’Donnell –, I analyze the
body knowledge using the principles of enactive approach at perception proposed by the philosopher Alva Noë.
analysis of the concept of “focus”.In this article, I mean by choreographic counterpoint the synchronous movement between dancers during a live performance. Through the interviews
made to some performers-researchers-choreographers and collaborators with The Forsythe Company – Dana Caspersen, Nicole Peils, Fabrice Mazliah and Tillman O’Donnell –, I analyze the
body knowledge using the principles of enactive approach at perception proposed by the philosopher Alva Noë.
Research Interests:
In questo articolo presenterò un’indagine basata sull’interdisciplinarietà delle fonti leggendo lo "score" come un cristallo: metafora del dinamismo formante insito nel movimento espressivo. Esporrò come tale cristallo sia il canale... more
In questo articolo presenterò un’indagine basata sull’interdisciplinarietà delle fonti leggendo lo "score" come un cristallo: metafora del dinamismo formante insito nel movimento espressivo. Esporrò come tale cristallo sia il canale necessario per fa sì che si realizzi il contrappunto coreografico. Esplorerò cosa ciò significa per i coreografi coinvolti in Motion Bank - William Forsythe, Deborah Hay, Jonathan Burrows and Matteo Fargion – analizzando la connessione somatica tra i processi di art-making and score-creation.
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This essay draws attention to the screendance archive of Il Coreografo Elettronico Festival stored within Museo Madre of Naples and curated in collaboration with a team of scholars from the Sapienza University of Rome. By exploring the... more
This essay draws attention to the screendance archive of Il Coreografo Elettronico Festival stored within Museo Madre of Naples and curated in collaboration with a team of scholars from the Sapienza University of Rome. By exploring the conceptual model of the term choreographic object (Forsythe 20082018), the arti cle explains how Il Coreografo Elettronico Archive can provide a transversal case study through which anal yse the increasing presence of dance/choreographic exhibitions within museum spaces from three different perspectives. Along the paper, the concept of anar chive (MassumiManning 2016) is applied as a cen tral principle of the research. It is used as an approach to link the three perspectives together and to explain how the exhibition of choreographic objects within mu seums can reconfigure the social empowerment in the contemporary environment.