The sound atmosphere in classical dance. A philosophical reflection on the inseparable link between tempo-musical and dance art before and during the Covid-19 pandemic.

Abstract

In classical dance, music is an essential part of its reality (either as living art or as transmitted digitally art), however, when it is studied, it is often ignored or left aside. For this reason, this work aims to reflect on the sound installation of the reality of classical dance. To address this, the author is based on Peter Sloterdijk's spherological theory and Martin Seel's aesthetics of appearing. This deepens the ways in which the artists of the movement display an acoustic echo as part of their social, aesthetic and existential atmospheric conditioning, where the musical-tempo becomes an inseparable bond. Here it is important to point out that part of these reflections arise from the author's own experience as researcher and professional dancer, and of the research work developed in her doctoral dissertation.

Therefore, to address this relationship between musical-tempo and classical dance, the reflection is divided into three parts, namely: 1) The human atmosphere, 2) The sonorous twin of classical dance, and 3) The musical-tempo and practice of ballet in times of pandemic. This last part reflects on how dance practice (daily and scenic) had to overcome some challenges during the SARS-CoV-2 pandemic, which made it migrate to digital spaces in which the relationship it had with the musical-tempo as living art inevitably changed.

Finally, as a conclusion, it is understood that music for dance, as a living art, is more than an accompaniment, it is a social-aesthetic-and-existential atmosphere of special qualities that appears in the scenic present as an energetic field of acoustic and rhythmic associations to which the movement and its participants (dancers, music and audience) are completely bundled. Atmosphere that, no matter how hard it has been tried Until now it has not been digitized in such a way that it can be said that the experience in live of a dance show it is no longer necessary.