帕台农神庙的阴影下:冷战期间雅典艺术节上的舞蹈(1955-1966 年)》,作者 Steriani Tsintziloni(评论)

IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY JOURNAL OF MODERN GREEK STUDIES Pub Date : 2023-10-01 DOI:10.1353/mgs.2023.a908567
Katia Savrami
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This historical and political episode provides Tsintziloni with an ideal vantage point from which to reflect on how dance served as a powerful cultural and diplomatic tool in the context of the Cold War conflicts discussed here in interdisciplinary terms. The author stresses the necessity of examining the Athens Festival ballet performances during this period, noting that they constitute an under-researched area in the history of dance in Greece, and she situates her book’s conceptual framework at the intersection of three fields: Cold War and cultural diplomacy, the history of dance, and the Greek reception of the dance performances under consideration. Chapter 1 explores in detail the history of the Athens Festival and its significance for the modernization of the performing arts in postwar Greece, a topic that has not received adequate attention in performance studies. 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引用次数: 0

摘要

审核:ΥπότησκιάτουΠαρθενώνα:ΧορόςστοΦεστιβάλΑθηνώνστηνπερίοδοτουΨυχρούΠολέμου(1955 - 1966)由Steriani Tsintziloni(ΣτεριανήΤσιντζιλώνη)凯蒂Savrami(生物)Steriani Tsintziloni(ΣτεριανήΤσιντζιλώνη),ΥπότησκιάτουΠαρθενώνα:ΧορόςστοΦεστιβάλΑθηνώνστηνπερίοδοτουΨυχρούΠολέμου(1955 - 1966)[帕台农神庙的阴影之下:舞蹈在雅典的节日在冷战期间(1955 - 1966)]。雅典:卡帕,2023。236页。纸€19.09。在她最近出版的书中,斯蒂里亚尼·齐洛尼探讨了舞蹈在“文化外交”中的作用,这个术语主要与传统外交渠道之外的国际交流有关。Tsintziloni运用现象学定性方法,并利用档案资料分析了20世纪50年代和60年代雅典艺术节上的一系列芭蕾舞表演。这些演出是由美国和苏联组织的文化和教育交流项目的一部分,其中包括他们的芭蕾舞团到西方和非西方国家巡回演出。可以说,对于两个超级大国的政治领导人来说,舞蹈是维护世界和平、防止使用核武器的外交工具。本书由斯泰西·普里克特(伦敦罗汉普顿大学舞蹈研究荣誉高级研究员)作序;一个介绍;五个章节专门讨论围绕冷战时期希腊外交的政治、社会和艺术问题;一个后记;以及希腊文和英文的参考书目。它还补充了两个索引,其中包括在讨论期间在希罗德·阿提克斯剧院演出的美国、苏联、英国、巴尔干和法国剧团的舞者和编舞的名字,以及芭蕾舞的名称。事实证明,这座标志性的罗马剧院在雅典艺术节成立的头十年里接待了一些世界顶级芭蕾舞演员。引言从鲁道夫·努列耶夫1961年叛逃到西方的传奇故事开始。这一历史和政治事件为Tsintziloni提供了一个理想的有利位置,从这个角度来思考舞蹈是如何在跨学科的冷战冲突背景下作为一种强大的文化和外交工具。作者强调了研究这一时期雅典艺术节芭蕾舞表演的必要性,并指出这是希腊舞蹈史上一个研究不足的领域,她将本书的概念框架置于三个领域的交叉点:冷战与文化外交、舞蹈史和希腊对所考虑的舞蹈表演的接受。第一章详细探讨了雅典节的历史及其对战后希腊表演艺术现代化的意义,这是一个在表演研究中没有得到足够重视的话题。这个节日是由希腊政府在政治和文化上(End Page 314)建立起来的,目的是把希腊作为西方文化的摇篮,因此,作为一个理想的地方,让本土和非本土的表演艺术家与希腊辉煌的过去对话。因此,在其他优先事项中,节日的节目安排议程包括希腊文化身份的重新概念化,古希腊戏剧的复兴,以及通过文化节日化吸引大众观众。在第二次世界大战和随后的内战中遭受重创的希腊经济复苏,将文化和旅游业联系起来似乎是势在必行的。第二章追溯了二十世纪美国和苏联芭蕾舞的发展。Tsintziloni强调了1945年后创造独特的美国风格和独特的苏联风格的芭蕾舞所涉及的意识形态态度。美国新古典主义芭蕾很大程度上强调舞蹈身体自由表达的抽象,而苏联古典芭蕾则强调故事的线性讲述和芭蕾舞演员的精湛技艺。本章的最后一部分详细阐述了几位希腊艺术家的倡议,他们将芭蕾舞和/或现代舞技术融入到他们自20世纪40年代末以来建立的舞蹈公司的工作中。来自新兴的希腊编舞现场的艺术家因此寻求适应长期存在于西方文化中的舞蹈实践。第三章分析1959年至1966年在雅典艺术节上演出的杰罗姆·罗宾斯的《芭蕾舞:美国》、美国芭蕾舞剧院、纽约市芭蕾舞团和皇家芭蕾舞团的作品。并对作品进行了分析。
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Υπό τη σκιά του Παρθενώνα: Χορός στο Φεστιβάλ Αθηνών στην περίοδο του Ψυχρού Πολέμου (1955–1966) by Steriani Tsintziloni (Στεριανή Τσιντζιλώνη) (review)
Reviewed by: Υπό τη σκιά του Παρθενώνα: Χορός στο Φεστιβάλ Αθηνών στην περίοδο του Ψυχρού Πολέμου (1955–1966) by Steriani Tsintziloni (Στεριανή Τσιντζιλώνη) Katia Savrami (bio) Steriani Tsintziloni (Στεριανή Τσιντζιλώνη), Υπό τη σκιά του Παρθενώνα: Χορός στο Φεστιβάλ Αθηνών στην περίοδο του Ψυχρού Πολέμου (1955–1966) [Under the shadow of the Parthenon: Dance at the Athens Festival during the Cold War (1955–1966)]. Athens: Kapa, 2023. Pp. 236. Paper €19.09. In her recently published book, Steriani Tsintziloni explores the role of dance in “cultural diplomacy,” a term largely associated with international communication outside of traditional diplomatic channels. Tsintziloni applies phenomenological qualitative methods and draws on archival sources to analyze a series of ballet performances presented at the Athens Festival in the 1950s and 1960s. These performances formed part of cultural and educational exchange programs, organized by the USA and the USSR, that included tours of their ballet companies to both Western and non-Western countries. It can be said that, for the political leaders of the two superpowers, dance served as a diplomatic tool for maintaining global peace and preventing the use of nuclear weapons. The book consists of a prologue by Stacey Prickett (honorary senior research fellow in Dance Studies at Roehampton University, London); an introduction; five chapters devoted to political, social, and artistic issues surrounding Cold War diplomacy in Greece; an epilogue; and a bibliography in Greek and English. It is also supplemented by two indexes that include the names of dancers and choreographers, as well as the titles of the ballets, for the American, Soviet, British, Balkan, and French companies that performed, during the period under discussion, at the Odeon of Herodes Atticus. This iconic Roman theater, it turns out, hosted some of the world’s leading ballet names during the Athens Festival’s first decade of existence. The introduction begins with Rudolf Nureyev’s legendary defection to the West in 1961. This historical and political episode provides Tsintziloni with an ideal vantage point from which to reflect on how dance served as a powerful cultural and diplomatic tool in the context of the Cold War conflicts discussed here in interdisciplinary terms. The author stresses the necessity of examining the Athens Festival ballet performances during this period, noting that they constitute an under-researched area in the history of dance in Greece, and she situates her book’s conceptual framework at the intersection of three fields: Cold War and cultural diplomacy, the history of dance, and the Greek reception of the dance performances under consideration. Chapter 1 explores in detail the history of the Athens Festival and its significance for the modernization of the performing arts in postwar Greece, a topic that has not received adequate attention in performance studies. The founding of the Festival by the Greek state was framed within a political and cultural [End Page 314] rhetoric of promoting Greece as the cradle of Western culture and, therefore, as an ideal place to present native and non-native performing artists in dialogue with Greece’s glorious past. The Festival’s programming agenda thus included, among other priorities, the reconceptualization of Greek cultural identity, the revival of ancient Greek drama, and the attraction of a mass audience through the festivalization of culture. Linking culture and tourism seemed to be imperative for the recovery of Greece's economy, which had been devastated by World War II and the ensuing Civil War. Chapter 2 traces the development of ballet in the USA and the USSR during the twentieth century. Tsintziloni highlights the ideological attitudes involved in creating a uniquely American and, equally, a uniquely Soviet style of ballet after 1945. American neoclassical ballet largely emphasized the abstraction arising from the dancing bodies’ freedom of expression, while Soviet classical ballet emphasized the linear telling of a story and the virtuosity of its ballerinas. The last part of this chapter elaborates on initiatives by several Greek artists to incorporate ballet and/or modern dance techniques into their work with the dance companies they had established since the late 1940s. Artists from the emerging Greek choreographic scene thus sought to adapt to dance practices that had long existed in Western culture. Chapter 3 analyzes the works performed at the Athens Festival from 1959 to 1966 by Jerome Robbins’s Ballet: U.S.A., the American Ballet Theatre, the New York City Ballet, and the Royal Ballet. It also analyzes the works...
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JOURNAL OF MODERN GREEK STUDIES
JOURNAL OF MODERN GREEK STUDIES HUMANITIES, MULTIDISCIPLINARY-
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期刊介绍: Praised as "a magnificent scholarly journal" by Choice magazine, the Journal of Modern Greek Studies is the only scholarly periodical to focus exclusively on modern Greece. The Journal publishes critical analyses of Greek social, cultural, and political affairs, covering the period from the late Byzantine Empire to the present. Contributors include internationally recognized scholars in the fields of history, literature, anthropology, political science, Byzantine studies, and modern Greece.
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