The art of performance dance in the 20th century is undergoing a transformation involving values, concepts, and styles that are quite distinct from the traditional principles of classical art dance. This turn, beginning around the middle of the 20th century, has found expression in a “radical shift” in terms of the form and content of dance, affecting its components, nature, and purpose; therefore, it is not surprising that the quest for new conceptual foundations acquired its own outlook not only, and not so much in art criticism as in philosophical terms. It can be said that the epicentre of these shifts was a new understanding of the dancing body itself. The diversity of practices – dance theatre, physical theatre, dance performance, non‐dance movement, postmodern dance, contemporary dance – have in turn become ways of embodying these new bodily concepts. Of course, the primary results of this quest have had a non‐verbal character; nevertheless, in general terms, the level of “conversation” allows us to perceive the philosophical concepts underlying the discoveries made. The task of this article is to clarify these concepts through examining changes ideas about the body within dance culture over the course of the last century. The examination is carried out sequentially through the ages of the twentieth century: the development of new conceptual directions of the body in the dance practices of Western Received 19 January 2018 © 2018 Maria Kozeva, Galina Brandt Accepted 5 March 2018 mkozeva@yandex.ru Published online 3 April 2018 gbrandt@bk.ru 7 Changing Societies & Personalities, 2018 Vol. 2, No. 1 countries are shown, referring each movement to precisely the process from which it respectively proceeded. Thus, the body seen as a means, an “instrument”, for the transmission of higher spiritual meanings, as was generally the case in classical dance, becomes in itself the goal and subject of special interest. Here it is as a space of freedom and a field for unravelling unconscious (psychosomatic) aspects, both in terms of the vehicle of sociality, and as its construct, that awareness of the normative practices of body as a repression of social control can be observed. It is clear that the basic “narratives” identified in the article also unfold in the philosophical studies of the 20th and 21st centuries. Thus, the parallel nature of these processes testifies to a cardinal revision by European society of its physicality.

中文翻译：

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21世纪舞蹈实践中的哲学追求：身体观念

二十世纪的表演舞蹈艺术正在经历着价值，观念和风格的转变，这与古典艺术舞蹈的传统原理截然不同。这种转变始于20世纪中叶，在舞蹈的形式和内容上，以“激进的转变”体现出来，影响了舞蹈的组成，性质和目的。因此，对新概念基础的追求不仅获得了自己的观点，而且在艺术批评方面并没有像哲学术语那样获得了自己的观点也就不足为奇了。可以说，这些转变的中心是对舞蹈身体本身的新认识。实践的多样性–舞蹈剧院，身体剧院，舞蹈表演，非舞蹈动作，后现代舞蹈，当代舞蹈–反过来又成为体现这些新身体概念的方式。当然，此任务的主要结果具有非语言特征。但是，一般而言，“对话”的水平使我们能够感知所发现的发现背后的哲学概念。本文的任务是通过研究上个世纪以来舞蹈文化中有关身体变化的观念来阐明这些概念。这项检查是在二十世纪的各个年龄段中相继进行的：西方舞蹈实践中对身体新概念方向的发展接受2018年1月19日©2018 Maria Kozeva，Galina Brandt接受2018年3月5日mkozeva@yandex.ru发布在线2018年4月3日gbrandt@bk.ru 7不断变化的社会与人格，2018年 2，号 显示了1个国家/地区，分别将每个运动准确地称为运动的开始过程。因此，像古典舞一般那样，被视为一种手段的身体，一种“工具”，用于传达更高的精神意义，本身就成为了人们特别关注的目标和主题。在这里，这是一个自由的空间，是一个可以解决无意识（心身）方面的领域，无论是在社会性工具方面，还是在其结构上，都可以观察到人们认识到身体的规范性实践是对社会控制的压制。 。显然，本文所确定的基本“叙述”也在20世纪和21世纪的哲学研究中得到了体现。因此，这些过程的并行性证明欧洲社会对其物理性进行了根本性的修订。将每个运动准确地引述为分别进行的过程。因此，像古典舞一般那样，被视为一种手段的身体，一种“工具”，用于传达更高的精神含义，本身就成为了人们特别关注的目标和主题。在这里，这是一个自由的空间，是一个可以解决无意识（心身）方面的领域，无论是在社会性工具方面，还是在其结构上，都可以观察到人们认识到身体的规范性实践是对社会控制的压制。 。显然，本文所确定的基本“叙述”也在20世纪和21世纪的哲学研究中得到了体现。因此，这些过程的并行性证明欧洲社会对其物理性进行了根本性的修订。将每个运动准确地引述为分别进行的过程。因此，像古典舞一般那样，被视为一种手段的身体，一种“工具”，用于传达更高的精神含义，本身就成为了人们特别关注的目标和主题。在这里，这是一个自由的空间，是一个可以解决无意识（心身）方面的领域，无论是在社会性工具方面，还是在其结构上，都可以观察到人们认识到身体的规范性实践是对社会控制的压制。 。显然，本文所确定的基本“叙述”也在20世纪和21世纪的哲学研究中得到了体现。因此，这些过程的并行性证明欧洲社会对其物理性进行了根本性的修改。