{"title":"Olivia Sabee, Theories of Ballet in the Age of the ‘Encyclopédie’","authors":"Joellen A. Meglin","doi":"10.3366/drs.2023.0393","DOIUrl":"https://doi.org/10.3366/drs.2023.0393","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47698546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Arabella Stanger, Dancing on Violent Ground: Utopia as Dispossession in Euro-American Theater Dance","authors":"S. De Rosa","doi":"10.3366/drs.2023.0394","DOIUrl":"https://doi.org/10.3366/drs.2023.0394","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44518545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates how Covid-19 and Brexit have impacted the practices, finances and wellbeing of UK dance professionals, drawing on first-hand data collected in early 2021 from interviews, questionnaires and a panel discussion. The testimonies of freelance practitioners from different backgrounds, as well as key stakeholders from national institutions and organisations employing or otherwise interacting with freelancers, present bottom-up insights from the scene. Our research project more specifically explored the ramifications of the pandemic and Brexit, and the impact of these crises on the diversity of the UK dance scene (broadly construed). The voices and findings presented are framed by a discussion of the economic and political infrastructure of the so-called ‘creative industries’ in the country, with particular attention to the freelance creative labour model, risk and precarity. The article concludes by proposing a politics of small resistive steps which might help to mitigate these challenges, working from within the dance ecosystem.
{"title":"‘Brexit put us in the Fridge, Covid in the Freezer’: The Impact of Covid-19 and Brexit on UK Freelance Dance Artists","authors":"A. Kolb, Nicole Haitzinger","doi":"10.3366/drs.2023.0389","DOIUrl":"https://doi.org/10.3366/drs.2023.0389","url":null,"abstract":"This article investigates how Covid-19 and Brexit have impacted the practices, finances and wellbeing of UK dance professionals, drawing on first-hand data collected in early 2021 from interviews, questionnaires and a panel discussion. The testimonies of freelance practitioners from different backgrounds, as well as key stakeholders from national institutions and organisations employing or otherwise interacting with freelancers, present bottom-up insights from the scene. Our research project more specifically explored the ramifications of the pandemic and Brexit, and the impact of these crises on the diversity of the UK dance scene (broadly construed). The voices and findings presented are framed by a discussion of the economic and political infrastructure of the so-called ‘creative industries’ in the country, with particular attention to the freelance creative labour model, risk and precarity. The article concludes by proposing a politics of small resistive steps which might help to mitigate these challenges, working from within the dance ecosystem.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48470706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers the reasons that Spain was not successful in establishing a national ballet company or in developing a choreographic tradition, even though the Ballets Russes spent long periods of time in the country; returned to it on several occasions; had King Alfonso XIII's patronage; and nurtured fruitful artistic collaborations. Contemporary reviews, academic articles and the accounts of company artists are consulted to ascertain whether Diaghilev's legacy was obscured due to the country's subsequent history or whether Spain was simply unable to assimilate Diaghilev's artistic beliefs.
{"title":"Diaghilev's Ballets Russes in Spain and its Legacy","authors":"Ana Abad-Carlés","doi":"10.3366/drs.2023.0391","DOIUrl":"https://doi.org/10.3366/drs.2023.0391","url":null,"abstract":"This article considers the reasons that Spain was not successful in establishing a national ballet company or in developing a choreographic tradition, even though the Ballets Russes spent long periods of time in the country; returned to it on several occasions; had King Alfonso XIII's patronage; and nurtured fruitful artistic collaborations. Contemporary reviews, academic articles and the accounts of company artists are consulted to ascertain whether Diaghilev's legacy was obscured due to the country's subsequent history or whether Spain was simply unable to assimilate Diaghilev's artistic beliefs.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44022557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gerald Dowler, The Golden Age: Ballet in Soviet Russia, 1917–1991","authors":"Jane Pritchard","doi":"10.3366/drs.2022.0384","DOIUrl":"https://doi.org/10.3366/drs.2022.0384","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48701849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Samuel Beckett’s encounter with the aesthetics of ballet has not been fully acknowledged for its impact on his writing. Yet throughout his life Beckett investigated problems of kinaesthetics, and the mechanics of human movement was inspired by his reading of the seventeenth-century Cartesian philosopher Arnold Geulincx (1624–1669), reflected initially in Beckett’s novel Murphy (1938). At the same time, Beckett’s interest in the specificities of physical movement also derives from his spectatorship of, and comments on Petrouchka and other ballets in 1934–5, performed in London by the Ballets Russes de Monte Carlo and Polish Ballet. Beckett’s subsequent meeting with a British ballet dancer, Deryk Mendel, working in Paris in the fifties, sustained this focus. Mendel was immersed in the burgeoning development of French mime and new movement forms, and Beckett created the mime Acte sans paroles (1957) for him. Mendel subsequently worked with Beckett as performer and director, including the first transmission of Eh Joe ( He Joe!, 1966) for German TV. Beckett’s encounter with Mendel consolidated his interest in the puppet figure of Petrouchka and initiated an enduring exploration of choreographic forms throughout his late work. His direction of his own plays in the 70s and 80s frequently focused on the rhythm and pacing of movement, spatial disposition of figures on stage, and latterly Beckett revitalized the enduring resonances of his encounters with ballet in a uniquely choreographic style for the performers of his late work.
{"title":"Samuel Beckett’s Brush with Ballet","authors":"Susan E. Jones","doi":"10.3366/drs.2022.0365","DOIUrl":"https://doi.org/10.3366/drs.2022.0365","url":null,"abstract":"Samuel Beckett’s encounter with the aesthetics of ballet has not been fully acknowledged for its impact on his writing. Yet throughout his life Beckett investigated problems of kinaesthetics, and the mechanics of human movement was inspired by his reading of the seventeenth-century Cartesian philosopher Arnold Geulincx (1624–1669), reflected initially in Beckett’s novel Murphy (1938). At the same time, Beckett’s interest in the specificities of physical movement also derives from his spectatorship of, and comments on Petrouchka and other ballets in 1934–5, performed in London by the Ballets Russes de Monte Carlo and Polish Ballet. Beckett’s subsequent meeting with a British ballet dancer, Deryk Mendel, working in Paris in the fifties, sustained this focus. Mendel was immersed in the burgeoning development of French mime and new movement forms, and Beckett created the mime Acte sans paroles (1957) for him. Mendel subsequently worked with Beckett as performer and director, including the first transmission of Eh Joe ( He Joe!, 1966) for German TV. Beckett’s encounter with Mendel consolidated his interest in the puppet figure of Petrouchka and initiated an enduring exploration of choreographic forms throughout his late work. His direction of his own plays in the 70s and 80s frequently focused on the rhythm and pacing of movement, spatial disposition of figures on stage, and latterly Beckett revitalized the enduring resonances of his encounters with ballet in a uniquely choreographic style for the performers of his late work.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46554182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Ballerina Tamara Karsavina’s career as a writer deserves attention and warrants a further assessment of her legacy. She left an impressive body of writing that documents her history and describes ballet’s specific and complex vocabulary of movement. I focus on Karsavina’s writing about ballet technique so as to shed light on her teaching approach and dance values through a contrast with those of her near contemporary in the Imperial Ballet School and Company, the famed pedagogue Agrippina Vaganova. Particular emphasis is given to Vaganova’s Basic Principles of Classical Ballet, Russian Ballet Technique and to Karsavina’s extensive writings in The Dancing Times.
{"title":"Turning Movement into Words: The Technique Writings of Tamara Karsavina and Agrippina Vaganova","authors":"K. Eliot","doi":"10.3366/drs.2022.0367","DOIUrl":"https://doi.org/10.3366/drs.2022.0367","url":null,"abstract":"The Ballerina Tamara Karsavina’s career as a writer deserves attention and warrants a further assessment of her legacy. She left an impressive body of writing that documents her history and describes ballet’s specific and complex vocabulary of movement. I focus on Karsavina’s writing about ballet technique so as to shed light on her teaching approach and dance values through a contrast with those of her near contemporary in the Imperial Ballet School and Company, the famed pedagogue Agrippina Vaganova. Particular emphasis is given to Vaganova’s Basic Principles of Classical Ballet, Russian Ballet Technique and to Karsavina’s extensive writings in The Dancing Times.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46602821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay traces my journey as a dance artist, scholar, and teacher, and elucidates the strategies with which I have learned to articulate my creative voice, to locate myself within the field of dance, and to perform my identity with self-determined agency. Using the first person and locating myself within this text is a strategy that I have drawn from feminist methodology, a meditation on voice, and a mode of autobiographical performance. This essay also examines the life, career and choreography of Ricki Starr, a ballet-dancing wrestler. Starr became a symbolic icon for me, and his use of ballet vocabulary offered me a powerful example of how to disrupt and challenge the norms of cultural hegemony. Starr’s work in the wrestling ring (and on television, in film and in the music industry), is a powerful case study that conveys some of the ways that dance allows for complex and challenging portrayals of gender identity as enacted through physical storytelling.
{"title":"Spectacular Choreographies of Epic Proportions: Ricki Starr, the Ballet Dancing Wrestler","authors":"L. Rizzo","doi":"10.3366/drs.2022.0366","DOIUrl":"https://doi.org/10.3366/drs.2022.0366","url":null,"abstract":"This essay traces my journey as a dance artist, scholar, and teacher, and elucidates the strategies with which I have learned to articulate my creative voice, to locate myself within the field of dance, and to perform my identity with self-determined agency. Using the first person and locating myself within this text is a strategy that I have drawn from feminist methodology, a meditation on voice, and a mode of autobiographical performance. This essay also examines the life, career and choreography of Ricki Starr, a ballet-dancing wrestler. Starr became a symbolic icon for me, and his use of ballet vocabulary offered me a powerful example of how to disrupt and challenge the norms of cultural hegemony. Starr’s work in the wrestling ring (and on television, in film and in the music industry), is a powerful case study that conveys some of the ways that dance allows for complex and challenging portrayals of gender identity as enacted through physical storytelling.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46618809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Many eyewitnesses mention the emergence of a new style of ceremonial dances performed at the Napoleonic court between 1802 and 1814. The deliberate mixing of the social classes during these occasions was considered a novelty. A significant proportion of the original musical scores for these semi-public dances has survived although they are sometimes hard to decipher. However, the importance of the choreographers involved (Pierre Gardel and Jean-Etienne Despréaux among others), suggests that the artistic standard of the works was high. This is confirmed by a link between these dances and the corps de ballet of the Paris Opéra which is apparent from other contemporary sources. By comparing eyewitness accounts with the archival sources, it becomes possible to deduce at least some of the missing choreographic details and social circumstances.
{"title":"La Ville et la Cour se Mélèrent – Napoleon's Propaganda Quadrilles (1793–1813)","authors":"Cornelis Vanistendael","doi":"10.3366/drs.2022.0368","DOIUrl":"https://doi.org/10.3366/drs.2022.0368","url":null,"abstract":"Many eyewitnesses mention the emergence of a new style of ceremonial dances performed at the Napoleonic court between 1802 and 1814. The deliberate mixing of the social classes during these occasions was considered a novelty. A significant proportion of the original musical scores for these semi-public dances has survived although they are sometimes hard to decipher. However, the importance of the choreographers involved (Pierre Gardel and Jean-Etienne Despréaux among others), suggests that the artistic standard of the works was high. This is confirmed by a link between these dances and the corps de ballet of the Paris Opéra which is apparent from other contemporary sources. By comparing eyewitness accounts with the archival sources, it becomes possible to deduce at least some of the missing choreographic details and social circumstances.","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47090308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Philipa Rothfield, Dance and the Corporeal Uncanny: Philosophy in Motion","authors":"A. Pont","doi":"10.3366/drs.2022.0381","DOIUrl":"https://doi.org/10.3366/drs.2022.0381","url":null,"abstract":"","PeriodicalId":42392,"journal":{"name":"Dance Research","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49488508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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