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000061618 037__ $$aART-2016-99498
000061618 041__ $$aeng
000061618 100__ $$0(orcid)0000-0002-0518-975X$$aPérez Royo, Victoria$$uUniversidad de Zaragoza
000061618 245__ $$aGhostly bodies
000061618 260__ $$c2016
000061618 5060_ $$aAccess copy available to the general public$$fUnrestricted
000061618 5203_ $$aWhat are you currently working on? It is a reconstruction of a dance piece? 
Fabián Barba: This january I started working on a new project, A personal yet collective history. The starting point was to reflect on how through my educati n I’ve been put in contact with the history of dance and how I have internalized a part of it. Instead of looking for a flow of information from the outside to the inside - from the archives to the embodiment as in the case of A Mary Wigman Dance Evening (AMWDE)- I wanted to look for that which was already (in) there (learnt techniques, images, ideas, pleasures) to put them later in relation with a larger dance history (out there). In that sense reconstruction doesn’t seem so far to be the most appropriate methodology, though it’s too early for me to know for sure. 
VPR: In this sense you are working with a noti on of the body as an archive of learnt and embodied techniques and movement languages, which could be related to Paul Ricoueur’s habit-memory: that memory created by repetition and which works in a kind of pseudoautomatism, as when one recites a text or a poem one has learnt as a child. Because of this automatism this kind of memory, opposed to the imaginative one, in ...
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000061618 7102_ $$13005$$2270$$aUniversidad de Zaragoza$$bDepartamento de Filosofía$$cEstética y Teoría de las Artes
000061618 773__ $$g2 (2016), 123-127$$pA.DNZ$$tA.DNZ$$x0719-4676
000061618 85641 $$uhttp://www.adnz.uchile.cl/index.php/ADNZ/article/viewPDFInterstitial/45062/47141$$zTexto completo de la revista
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000061618 951__ $$a2017-06-29-11:33:17
000061618 980__ $$aARTICLE