La danza nella prospettiva ontologica di una teoria documentale dell’arte

Abstract

The myth of the absence of the object has generated the so-called rhetoric of the ephemeral about the art of the dance. In the field of philosophies of art, the “teoria documentale”, proposed by Maurizio Ferraris, proves to be a source of ideas and reflections regarding an ontology of dance. According to Ferraris, works of art are “artefatti iscritti”, that is, a particular class of social objects that, as such, require a socially shared inscription. In this perspective, the dance techniques and choreographic styles appear as forms of inscription that, through paradigms of movement, shape the body, leaving traces that can be recognized and shared.