Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
Rudolf ArnheimRead
The dance, just as the performance of the actor, is kinesthetic art, art of the muscle sense. The awareness of tension and relaxation within his own body, the sense of balance that distinguishes the proud stability of the vertical from the risky adventures of thrusting and falling--these are the tools of the dancer.
Interpretation
Dance is a physical expression that relies on the awareness of one's body and its movements.
Rudolf Arnheim highlights that dance, like acting, is a physical art form that requires the dancer to be acutely aware of their body's movements, balance, and the interplay of tension and relaxation. This awareness is essential for the graceful execution of dance, which is characterized by both stability and dynamic movement.
In practice
In a dance class, the instructor could use this quote to emphasize the importance of body awareness.
Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
Nothing is more humbling than to look with a strong magnifying glass at an insect so tiny that the naked eye sees only the barest speck and to discover that nevertheless it is sculpted and articulated and striped with the same care and imagination.
Once it is recognized that productive thinking in any area of cognition is perceptual thinking, the central function of art in general education will become evident.
Man's striving for order, of which art is but one manifestation, derives from a similar universal tendency throughout the organic world; it is also paralleled by, and perhaps derived from, the striving towards the state of simplest structure in physical systems.
The arts are neglected because they are based on perception, and perception is disdained because it is not assumed to involve thought.
Variety is more than a means of avoiding boredom, since art is more than an entertainment of the senses.
Architecture is always the will of the age conceived as space - nothing else. Until this simple truth is clearly recognized, the struggle over the foundation of a new architecture confident in its aims and powerful in its impact cannot be realized; until then, it is destined to remain a chaos of uncoordinated forces.
I was attracted to science fiction because it was so wide open. I was able to do anything and there were no walls to hem you in and there was no human condition that you were stopped from examining.
Out in the world not much happened. But here in the special night, a land bricked with paper and leather anything might happen, always did.
First we draw what we see; then we draw what we know; finally we see what we know.
I began by listening to my mother's collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!
To tell of disappointment and misery, to thicken the darkness of futurity, and perplex the labyrinth of uncertainty, has been always a delicious employment of the poets
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