Based on the sequence of the mime tennis match that closes the film Blow-Up by Michelangelo Antonioni (1966), the article addresses the question of the gesture of the gaze, at the crossroads of sports practices, bodily mime and photography. The global reorganization of the experience of the gaze induced by the photographic device at the beginning of modernity also instills a tension and a separation between the bodily gaze and the mechanical gaze, a sometimes painful fracture that the theater appropriates. The few examples analysed, in particular the series The sports by Etienne Decroux, the choreography Press by Pierre Rigal and the performance Metafora by Manuel Vason, show different possible solutions to this fracture, but also testify to a common aspiration towards a possible form of reinforced, powerful look, which could arise from the synthesis of these two looks.
Prouesses du regard : le geste du regard entre photographie, pratique physique et performance Feats of the eye: The gesture of the gaze between photography, physical practice and performance
Chiarelli Cosimo
2018-01-01
Abstract
Based on the sequence of the mime tennis match that closes the film Blow-Up by Michelangelo Antonioni (1966), the article addresses the question of the gesture of the gaze, at the crossroads of sports practices, bodily mime and photography. The global reorganization of the experience of the gaze induced by the photographic device at the beginning of modernity also instills a tension and a separation between the bodily gaze and the mechanical gaze, a sometimes painful fracture that the theater appropriates. The few examples analysed, in particular the series The sports by Etienne Decroux, the choreography Press by Pierre Rigal and the performance Metafora by Manuel Vason, show different possible solutions to this fracture, but also testify to a common aspiration towards a possible form of reinforced, powerful look, which could arise from the synthesis of these two looks.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
