Towards an Aesthetic of „Straniety” in Postmodern and Contemporary Dance

Abstract The complicated physiognomy of dance in the XX-th and XXI-th century obviously exeedes the stable marks of „beauty” as an aesthetic category, by extending the limits of imaginary and techniques of artistic productions beyond any restraints. Both form and artistic expressions become suitable for specific interpretations, through the instruments and postmodern categories. The argumentation frequently refer to three moments of avantgardes, swiftly mentioning the reform’s beginings on the european artistic environment as a starting point, and underlying the Black Montain College phenomenon, and its consequences through the 80-ties and after. The fluctuations of artistic objectives are also “organized” having a starting point two texts with an essential theoretical value, No Manifesto (Yvonne Reiner) and Yes Manifesto (Mette Ingvarsen) which permit the systematization of the dance creators’s “attitude”, underline the philosophical ideas contained by image, which generate the postmodern „straniety”.