See and be seen: A quality of presence. An investigation of authentic movement in creative process and performance

Abstract

This dissertation investigates ways in which dancers utilise the principles of Authentic Movement within creative process and
performance contexts. First, it examines theories of the body subject from a phenomenological perspective, foregrounding the body as the lived body of experience. Then, it offers a brief description of the socio-historical and ideological principles
behind Authentic Movement, and its place in a wider performance dance history.
Following this is reference to my own practical research which addresses how the tools of Authentic Movement have informed and affected my current practice, broadening my perceptions of the nature of dialogue between self and other, and the impact of a psycho-physical approach on a performer's training. Finally, drawing on the work of four dance artists: Joan Davis, Andrea Olsen, Miranda Tufnell and Simon Whitehead, I examine aspects of their work in relation to the principles and ideologies behind Authentic Movement which raise important questions regarding the notion of listening to the body and accessing spontaneous, personal movement inherent to the individual, the role of 'active imagination' and non-judgement in dance.
In the light of these questions it is argued that psycho-physical practices, such as Authentic Movement, which engages in movement derived spontaneously from the body, have important implications for dance as an artfonn, and for dance pedagogy.