Nietzsche, Bergson e um conflito chamado dança

Abstract

The present work is the result of a bibliographical and corporeal research in the field of contemporary Aesthetics and Philosophy of Art. The general goal is to analyze the way in which Friedrich Nietzsche and Henri Bergson articulate the notions of antagonism that can support the thesis that dance results from at least two types of conflict: the corporeal and the temporal ones. The question that leads this project is the role of the opposition and duration in a body in motion. In order to answer it from the Nietzschean and Bergsonian thinking, the following hypothesis is presented: the opposition that creates traction in the body of the dancer, creates thus the conditions for its equilibrium and displacement in space. It is, from our point of view, comparable to Nietzsche’s will to power, as such traction represents a force applied in opposite directions, in parts of the body that defy one another, so that balance is obtained. As for Bergson, the present work borrows his concept of intuition of the duration to investigate how the perception of time modifys the aesthetic experience. In the whole work, a verification of aspects in the philosophy of Nietzsche and Bergson on the question of body and time is such will to power and duration are sought. Method: to confirm the above verification, elements of the philosophical trajectory of both authors have been thought mainly in separate. Another method here aplied as well as is the participatory experience of the author, who is a dancer. Under this research, it has been also detected an inclination in the practice of the dance to undergo a process of rationalization that, in turn, arises as a response of intelligence to aesthetic experience, instead of having intuition in its leading role in the approach of time.