Abstract

This thesis involves the development of a methodology that when assessed hermeneutically, provides an existential yet accessible framework that informs and deepens the practice of improvised contemporary movement forms. This theoretical methodologys construction also initiates a unique aesthetic theory that can be used for solidifying an improvisational creative process. The unveiling of concealed convergences eventually resonates with dancing bodies as the becoming of the unseen through a phenomenological grounding that performers using improvised movement structures have ostensibly disregarded as being the forgotten trance in dance. Through the interpolation of topics and concepts exclusive to the fields of political theory, aesthetics, philosophy and hermeneutics, selected segments from works by prominent thinkers from Georg Wilhelm Friedrich Hegel through Maurice Jean Jacques Merleau-Ponty are deconstructed to inform the eventual reasoning of how an emancipated dancing experience might come to exist.