by Laura Lazzaro and Verónica Cohen


This article investigates different modes of correlation between word and movement. The authors explore two Argentine dance works: Disculpe, puede usted coreografiarme (2007) by Laura Kalauz and Arcadia (2017) by Ana Laura Lozza & Bárbara Hang and locate them within the frame of the “aesthetics of emergence” (Laddaga, 2006).

“The dismissal of one of the spectators cannot be integrated into the performance because it is not related to what happens afterwards, nor does it help to understand something that has already happened before. It is a disruptive moment, full of tension, which raises a collective question: what position do the spectators take in the face of the expulsion? A different situation could be considered if the spectators assume that the person who has been dismissed (as long as it is not their turn) is, in fact, part of the performance and the cast. They must then rearrange their gaze to be able to integrate it and turn it into a sign.”

 Read the text here (Spanish, summary in English)

NODO, Research and Creation Magazine
Volume 17, Number 33
Facultad de Artes Vicerrectoría de Ciencia, Tecnología e Innovación
Fondo Editorial, July-December 2022
Bogotá

by Laura Lazzaro and Verónica Cohen


This article investigates different modes of correlation between word and movement. The authors explore two Argentine dance works: Disculpe, puede usted coreografiarme (2007) by Laura Kalauz and Arcadia (2017) by Ana Laura Lozza & Bárbara Hang and locate them within the frame of the “aesthetics of emergence” (Laddaga, 2006).

“The dismissal of one of the spectators cannot be integrated into the performance because it is not related to what happens afterwards, nor does it help to understand something that has already happened before. It is a disruptive moment, full of tension, which raises a collective question: what position do the spectators take in the face of the expulsion? A different situation could be considered if the spectators assume that the person who has been dismissed (as long as it is not their turn) is, in fact, part of the performance and the cast. They must then rearrange their gaze to be able to integrate it and turn it into a sign.”

 Read the text here (Spanish, summary in English)

NODO, Research and Creation Magazine
Volume 17, Number 33
Facultad de Artes Vicerrectoría de Ciencia, Tecnología e Innovación
Fondo Editorial, July-December 2022
Bogotá