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The Oxford Handbook of Dance and Politics
In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the U...
EMPTY STAGES, CROWDED FLATS. PERFORMATIVITY AS CURATORIAL STRATEGY.
During its impressive career over the last decades the term 'performative' has been attributed with many parallel meanings in the humanities, philosophy, arts, or economics. Empty Stages, Crowded Flats additionally applies the notion of the performative to the context of curating with the aim to unfold a potential that so far has been mostly unused. The book is following J. L. Austin, Judith Butler, and others in their belief in the performative capacity to transform reality with words and other cultural utterances, but it also emphasises the often dismissed, colloquial notion of the performative as something being 'theatre-like', believing that those two strands are in fact interdependent a...
Choreographies of 21st Century Wars
'Choreographies of 21st Century Wars' addresses the interface between choreography and war in this century. The book challenges concepts of choreography as solely a structuring mechanism and an aesthetics of politics that is exclusively resistant. Instead, in the context of 21st-century war, it calls for a rethinking of choreography that incorporates the disorder and dispersion of power away from nation-states, which is central to this century. The collection is composed of an introduction and sixteen essays by individual authors who work across a number of disciplines through field notes, case studies, participant observations, and photographs, as well as essays reflecting on war issues and their relationship to choreographic practices.
Jérôme Bel
This study is the first monograph on the work of French choreographer Jérôme Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. It contains an overview and in-depth analysis of all of his choreographies, from Nom donné par l’auteur to Disabled Theatre, and provides a theoretical reflection on their theatrical nature. Bel has developed a singular discourse on dance that has often been labelled 'conceptual'. By reducing the stage elements in his performances to a minimum, his work explores the implications of dance as an art form that has, since the heyday of modernism, based its guiding principles on the laws of nature. Bel addresses the question of power relations in dance by working through the questions of authorship and various forms of subjectivity dance produces. Offering a unique opportunity to ground seemingly abstract academic theories in a specific embodied artistic practice, this study explores the intersection between artistic practice and theory.
New Theatre Quarterly 75: Volume 19, Part 3
Provides an international forum where theatrical scholarship and practice can meet.
A Handbook to the Reception of Greek Drama
A Handbook to the Reception of Greek Drama offers a series of original essays that represent a comprehensive overview of the global reception of ancient Greek tragedies and comedies from antiquity to the present day. Represents the first volume to offer a complete overview of the reception of ancient drama from antiquity to the present Covers the translation, transmission, performance, production, and adaptation of Greek tragedy from the time the plays were first created in ancient Athens through the 21st century Features overviews of the history of the reception of Greek drama in most countries of the world Includes chapters covering the reception of Greek drama in modern opera and film
On Reenactment
This book brings together dance and visual arts scholars to investigate the key methodological and theoretical issues concerning reenactment. Along with becoming an effective and widespread contemporary artistic strategy, reenactment is taking shape as a new anti-positivist approach to the history of dance and art, undermining the notion of linear time and suggesting new temporal encounters between past, present, and future. As such, reenactment has contributed to a move towards different forms of historical thinking and understanding that embrace cultural studies – especially intertwining gender, postcolonial, and environmental issues – in the redefinition of knowledge, historical disco...
Processing Choreography
Told from the perspective of the dancers, »Processing Choreography: Thinking with William Forsythe's Duo« is an ethnography that reconstructs the dancers' activity within William Forsythe's Duo project. The book is written legibly for readers in dance studies, the social sciences, and dance practice. Considering how the choreography of Duo emerged through practice and changed over two decades of history (1996-2018), Elizabeth Waterhouse offers a nuanced picture of creative cooperation and institutionalized process. She presents a compelling vision of choreography as a nexus of people, im/material practices, contexts, and relations. As a former Forsythe dancer herself, the author provides novel insights into this choreographic community.
Being-With in Contemporary Performing Arts
The concept of being-with developed by the philosopher Jean-Luc Nancy asks a fundamental question about human life, inasmuch as we have always been and will be co-existent with people and environments. All modes of sense-making and subjectivation, but also presence, can only occur within a context and through interaction. This is why historical forms of theater have frequently been viewed as sites of communality and why critical approaches have questioned concepts such as 'sense', 'meaning' and 'habitus'. Like literature, theater has also inherited the scene of myth: It satisfies our need for narration, interpretation and to share in something. In turn, the joint creation of meaning in scenic practices is also part of the traditional idealization of the theater – but is this ideal purely mythical? The authors of this book investigate and explore how meaning is being questioned or liberated in contemporary performances, and how individual thinking/action can be articulated to others, paving the way for other gestures, theatrical processes of recognition and the performative sharing process (of sense-making).
Dance [and] Theory
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«.
