The purpose of this research is to construct a model of the way in which a person watches the same dance performance twice. There are no two performances that are completely the same because dance is not a static artform and cannot be repeated, unlike some artforms for example cinema. The principle of performance states that a single performance cannot be replicated. Nevertheless, we can still understand the dance pieces each time the performance is staged because there is a stated common knowledge or theme in the performance. In general, there is a misconception among the audience that dance pieces are the same. They fail to see that the principle of performance strongly prevails in all performances, that is, there are no two performances that are the same. We notice the differences in the first and second viewing of the same dance piece. When we watch the dance piece for the second time, the impact or surprise elements are lost. However, it is common to watch the same program by the same dance company several times. Many would expect that there would be a different experience when watching the same dance piece for the second time, as well as a particular way in which this happens.
In section one, we start from the viewpoint that the same two performances are the same. Hence, this analysis on why people see the same dance piece for several times. Here, there are two different definition of the term "same dance piece". The first refers to the same piece by the same dancer or dance company. The second refers to the same piece by a different dancer or dance company.
In section two, in order to understand the process of the identification of a dance piece, we analyse some elements, for example lighting, sound, staging, dancers, choreography, that are compared with each other when we watch the same piece of dance, and identify this piece with another one that was watched in the past. And we further define three levels in the identification of the dance piece: passive identification, positive identification and partial identification. In the last section, we consider the way in which the dance piece is converted into an accumulation of information when watching it for the first time. Finally, we try to piece together the basic underlying model of the way in which one watches the same dance performance twice.
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