GESAMTKUNSTWERK

When I take into account the feedback I received from my dancers, my audience, and my advisors, as well as my own perception, I can only conclude that my work in this field has been a success.  My textual research informed rich movement research, each contributing to a beautiful finished piece that was danced with grace and maturity.  Because this project was as much about the formation of the work as it was about the end result, I cannot judge its merit on the final performance alone.  Both my rehearsal process and the performance were fulfilling and contributed to a greater understanding - for myself and my cast - of the relation between dance and Gesamtkunstwerk.

 

The Inner(act) show was a great success, with approximately ninety people in attendance.  Of these, thirty-two completed audience feedback forms, with an overwhelmingly positive response.  All thirty-two responded “yes” to question one, “Did Maia (Choreographer of “Paisley Mastodons”) clearly explain the term Gesamtkunstwerk and her interpretation of it?”  On the second question, “Do you believe the design of “Paisley Mastodons” is an example of Gesamtkunstwerk?” only four did not answer “yes.”  Of these, one said that he would need more information to make this determination, one said that he/she would like live music and/or singing, and two said that the narrative should have been more clear in order to truly be labeled “Gesamtkunstwerk.”  While the audience provided many different interpretations of the work, some themes recurred in many reactions.  The most commonly referred-to interpretation was one of conflicting ideals or themes, such as strength & weakness, playfulness & seriousness, and despair & hope.  Some described the relationship between their themes one of growth and journeying, while others considered it a conflict.  Another common theme was the presence of God and/or creation.  Finally, many mentioned imagery involving drought, plague, or famine.  These recurring interpretations all support my vision and themes for the piece, representing a success in developing thematic material.  

 

Because the Inner(act) show was structured as both an academic lecture/presentation and artistic performance, the audience went into their viewing experience with a significant amount of information about the rehearsal process, themes, and characters.  In addition, the audience was able to ask questions and glean more information following the performance.  One weakness of my feedback collection was that I did not develop a way of determining whether an audience member had stayed for the Q&A or left prior to it.  A significant portion of the audience left before the Q&A, meaning that they did not hear much of the additional information regarding thematic decisions and the “meaning” behind parts of the work that I provided in answer to audience members’ questions.  Because of this, I had no way of determining whether certain themes or feelings mentioned on feedback forms came about as a result of the piece itself or the discussion of it.  

 

Ultimately, the success of “Paisley Mastodons” as a piece and “Inner(act)” as a show can only be determined by the individual viewers.  Based upon the feedback forms, it seems that most audience members deemed both successful.  To me, the audience’s questions about certain themes within “Paisley Mastodons” represent a success in that the audience connected to and thought about the piece on a personal level.  Even after the show, friends and family were mentioning things in their everyday lives that reminded them of the themes or images in “Paisley Mastodons,” or of the theory of Gesamtkunstwerk in general.  In a sense, this research can never be finished, because Gesamtkunstwerk ultimately aims to be all-encompassing.  Suggestions for further research would be to expand upon the role of performance art and dance theatre in the evolution of dance and Gesamtkunstwerk, and to explore theatrical techniques more thoroughly in the formation of the dance work.  The work can always expand and be approved upon, but, in the words of Richard Wagner, “Even if I know I shall never change the masses, never transform anything permanent, all I ask is that the good things also have their place, their refuge.”