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Abstract
This research attempts to create with performing dance movements and the flowing expressions of costume-sculpted space by drawing from the concept of amoebic body movements introduced by Rudolf Amheim. It examines the interplaying connections between physical movements and clothing forms, and the ways in which they mutually limit or complement each other; through manifestations of dance movements, changing visual space takes place in the combination of body and costume.
The human body is infused with perception, sensation and dynamics. Physical movement is produced when bones, joints and muscles interact, which operates in time tracing, with no definite or fixed demarcations. Such changes of movement create a visual image similar to that of a moving amoeba, while the dancing body brings forth an energetically flowing visual, in which the costume shapes to the moving figure, just like the outer membrane, changing forms with body movements. On the other hand, the process is a kind of internal/external interaction: When the body meets its costume, it reacts to the constraining or supporting forces of the clothing form in movements and strengths, both directly and indirectly. The forms stimulate reactions in the nature of body movement, which re-enters and returns to the flowing expressions of the dynamics between body and costume, exhibiting the interdependent relationship between them, and creating the third state, as if extending from the body, in sculpting images.
This creative study investigates principally the ways in which the formal space of costume conditions the movements and their characteristics.The flowing creation consists of four consecutive parts: First, the movement relationships qualified by restraints from inside and outside the clothing forms and the subsequent changes of flow are examined. Second, various physical movements are transfigured into representations of forms in costumes. Third, study of space-rhythm relationships and their manifestations is experimented in making forms with a variety of materials. Fourth, active energies of the body interact with forms; the stationary camera documents the studying of static/dynamic state of forms. It is not merely creative designs for fashion. The focal point of this creative study lies in the interplaying relationship between body dynamics and clothing forms in their unity: In the process of inside interaction between body and costume, followed by the changing movements outside, clothing and body movements progressively come into one being, which is the third visual transformation, expressed in the integration of the two.
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