La composition par partition dans Bestiole (2012) de Myriam
Gourfink : quelle place pour l'interprète ?
Master's thesis (2020)
The use of scores in dance creation is present in different contexts, aesthetics and with
different objectives. In the case of Myriam Gourfink, it is based on a system specifically
designed with the stated aim of liberating interpretation. Using the case study of the piece
Bestiole (2012), I seek to analyse the extent to which the use of the score leaves the space for
interpretation free. In the specific case of Gourfink and the piece analysed, there is also the
collaboration of the dancers in creating the choreographic structure. The ultimate interest of
these questions is to collaborate in the opening of the debate on socio-political questions in
the processes of dance creation, particularly with regard to the place occupied by the
performer, from a process that highlights the tensions between freedom and responsibility.
Keywords: choreographic score, dance interpretation, real-time composition, dance notation,
Link to the full text (in french): https://dumas.ccsd.cnrs.fr/dumas-03702490v1