How to Interpret a Scream: On Dance Collaboration
College
College of Visual and Performing Arts
Department
Theatre & Dance
Faculty Mentor
Emily Morgan, M.F.A.; Stacy McConnell, M.F.A.; and Amy Gerald, Ph.D.
Abstract
Of all the existing art forms, one of the least written about is dance. For the dancer and non-dancer, writing about movement can prove to be difficult; at least for me, it did. Over the course of the Fall 2014 semester, I tracked my choreographic process from the first development of movement to the concert in a blog I have titled “How to Interpret a Scream.” This research piece pulls together art history, dance, and writing components as a cross-disciplinary project as well as it shows the collaborative creative process of dance making. As a choreographer, this dance was especially challenging because it involved research on the life of Edvard Munch and his painting “Scream,” on which the dance is based. In conjunction with the information, the piece requires two live dancers to collaborate with me to show the process in front of the audience. As the work is shared, the dancers and I create an entirely new phrase to interpret a scream.
Start Date
24-4-2015 3:45 PM
How to Interpret a Scream: On Dance Collaboration
Barnes Recital Hall, Conservatory of Music
Of all the existing art forms, one of the least written about is dance. For the dancer and non-dancer, writing about movement can prove to be difficult; at least for me, it did. Over the course of the Fall 2014 semester, I tracked my choreographic process from the first development of movement to the concert in a blog I have titled “How to Interpret a Scream.” This research piece pulls together art history, dance, and writing components as a cross-disciplinary project as well as it shows the collaborative creative process of dance making. As a choreographer, this dance was especially challenging because it involved research on the life of Edvard Munch and his painting “Scream,” on which the dance is based. In conjunction with the information, the piece requires two live dancers to collaborate with me to show the process in front of the audience. As the work is shared, the dancers and I create an entirely new phrase to interpret a scream.
