From objects to sounds, choreography is expanding beyond dance and human bodies in motion. This book offers one of the rare systematic investigations of expanded choreography as it develops in contemporaneity, and is the first to consider expanded choreography from a trans-historical perspective. Through case studies on different periods of European dance history – ranging from Renaissance dance to William Forsythe's choreographic objects and from Baroque court ballets to digital choreographies – it traces a journey of choreography as a practice transcending its sole association with dancing, moving, human bodies.
Price: $60.00
Pages: 354
Publisher: transcript publishing
Imprint: transcript publishing
Publication Date:
27 July 2022
Trim Size: 8.86 X 5.83 in
ISBN: 9783837661057
Format: Paperback
BISACs:
PERFORMING ARTS / Dance / General, PERFORMING ARTS / Theater / History & Criticism, PERFORMING ARTS / Business Aspects
Anna Leon is a dance historian working in and through research, curatorial theory projects, teaching and dance/performance dramaturgy. Currently, she is theory curator at Tanzquartier Wien and post-doctoral research fellow at the Academy of Fine Arts Vienna, where she researches peripheralised dance modernities through a focus on ballet in early 20th-century Greece. Her curatorial work includes the ongoing projects Radio (non-)conference with Netta Weiser and Choreography+ with Johanna Hilari. She has taught at the Universities of Vienna, Salzburg and Bern, the Academy of Fine Arts Vienna and SEAD. Her first book, Expanded Choreographies - Choreographic Histories, was published in 2022.
Frontmatter 1
Contents 7
List of Figures 11
Acknowledgments 15
Notes on translation 17
Summary 19
Introduction 21
Introduction to Part 1 39
Chapter 1: Monsieur de Saint-Hubert's expanded choreographic poietics 43
Chapter 2: Choreo-graphy or the incorporeal inscription of choreography 65
Chapter 3: Stillness in nature's dance: expanded choreographies of the Italian Renaissance 99
Conclusion to Part 1 123
Introduction to Part 2 129
Chapter 4: Programming (as) choreography: a series of kinect videos by Mathilde Chénin 135
Chapter 5: A choreography of the in-between: Olga Mesa's Solo a ciegas (con lágrimas azules) 159
Chapter 6: Being (in) a choreographic object: William Forsythe's artificial nature installation in Groningen 187
Conclusion to Part 2 213
Introduction to Part 3 219
Chapter 7: The multiple choreographies of the Ballets Suédois' Relâche 227
Chapter 8: Looking at a world in movement: Rudolf Laban's work in industry 247
Chapter 9: Creation, imagination, paradise: lettrism's excursions into choreography 277
Conclusion to Part 3 307
Conclusion 311
Bibliography 323
Index 347
