Body and space relationship in digital reality on the example of 3D choreographic films
Abstract
The lockdown caused by the pandemic has increased the presence of digital reality, which does not require the physical presence of a person as an interlocutor. The human body in this space is absent, there is only his image, which often presented and perceived as two-dimensional object. Presentation in such form is not sufficient for a complete perception and awareness of the body of another person.
In this article, the author suggests that for a better understanding of physicality in digital space, the 3D is the crucial component. Based on the studies in the fields of kinesthetic empathy and cinematography, the author shows the interconnection of space, body and kinesthetic empathy. Expanding the scope of these studies, the author explores the issue of common space in the 3D choreographic documentaries “Pina” by Wim Wenders and “Cunningham” by Alla Kovgan and provides an analysis of 3D technologies affect the change in the boundary between the spectator’s space and the dancer’s space. According to the author, a change in these boundaries allows a stronger influence on the perception of presence of the spectators, their perception of corporeality and kinesthetic empathy.
About the Author
E. A. Oleschenko
School of Design, National Research University Higher School of Economics
Russian Federation
Russian Federation
Oleschenko E. А. — Postgraduate Student
20, Myasnitskaya St., Moscow, 101000
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Review
For citations:
Oleschenko E.A. Body and space relationship in digital reality on the example of 3D choreographic films. Bulletin of Vaganova Ballet Academy. 2022;(1):141-159. (In Russ.)
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