Dance Criticism, Contemporary Dance History

Цель статьи - рассмотреть российскую художественную среду бытования современного танца в 1990-х - начале 2000-х годов. Несмотря на существование критических обзоров художественной практики в сфере современного танца того времени, интернет-свидетельств о разнообразных событиях, в научном дискурсе жизнь коллективов современного танца, процессов, происходивших внутри танцевального сообщества, не зафиксирована. Автором статьи, участником событий этого периода, на основании личного архива и архивов коллег, с использованием биографического метода исследования, была изучена неоднородность художественной среды возникновения современного танца в России.
Ключевые слова: современный танец в России, Александр Пепеляев, "Кинетический театр", Фестиваль театров танца "ЦЕХ", "По.В.С.Танцы", Сайра Бланш
Keywords: contemporary dance in Russia, Aleksandr Pepelyaev, Kinetic Theatre, TSEKH, Po.V.S.Tanzy, Saira Blansh

Artículo publicado en La Jornada Semanal en donde se aborda el contextos general del campo de la danza contemporánea en México, desde la perspectiva de los estudios subalternos, e intenta explicar algunas características de la producción dancísticas a partir de la lógica de la producción capitalista.

Una vera e propria ricerca sul campo. Grazie alla possibilità di una residenza di studio presso Scenario Pubblico - Centro Nazionale di Produzione della Danza di Catania, tra luglio e agosto del 2016, l’autore ha potuto assistere al processo di ricostruzione di una coreografia di Roberto Zappalà, Romeo e Giulietta 1.1 la sfocatura dei corpi, dieci anni dopo il suo primo debutto. Ma lo scorrere del tempo non è mai neutrale, e quel difficile passaggio ha richiesto uno spostamento non solo ai processi di creazione del coreografo e ai corpi dei nuovi interpreti, ma anche agli strumenti, allo sguardo, al pensiero, financo al senso della presenza stessa del testimone.
Il libro contiene un div con entrambe le versioni, alcune riflessioni preliminari sul mestiere dell’osservare la danza, il diario “di esplorazione” dei primi giorni di prove del riallestimento della coreografia, un denso close reading delle due versioni poste in parallelo (2006 e 2016), e un’analisi conclusiva sulla vitalità di questo titolo shakesperiano in àmbito coreografico, nonché sul merito di questa versione. Ma niente di tutto ciò è rimasto tale e quale nel lavoro testimoniale del tempo produttivo. Così, le riflessioni sulla pratica e la ricerca sul campo hanno assunto il tono della confessione, il diario si è scritto in molte forme, secondo i diversi progetti di scrittura, e il commento con l’analisi hanno di gran lunga mancato i limiti dell’episteme.
Cosa, dunque, alla fine, è successo? In barba a ogni logica o ideologia ricostruttiva, a ogni politica del rifacimento, e a ogni economia restaurativa in danza, è risultato che la seconda versione della coreografia non ha potuto che essere la decostruzione della prima. Nel campo di un processo interpretativo del passato, dunque, quasi tutti gli schemi di gioco sono cambiati. Ma non in perdita. In termini, invece, più felicemente affermativi.

Dance Review published at Culture Vulture, a site for arts journalism on the internet. Available at: https://culturevulture.net/dance/annunciation-by-angelin-preljocaj-and-siciliana-by-korsia-company/

Reposted at: https://thetheatretimes.com/double-bill-annunciation-by-angelin-preljocaj-and-siciliana-by-korsia-company-at-teatro-massimo-of-palermo-italy/

At the 140th anniversary of her birth, we can begin to see Isadora Duncan as the true mother of modern dance. Lori Belilove makes the case that Duncan's kinetic flow is both more classical and more American than Martha Graham's sculptural tableaux.

Flayper of Ukiyo Moveable World
Ukiyo Moveable World, "choreographic installation UKIYO Moveable World", Yukihiko Yoshida(Research Conduction), Lilian Baylis Studio, Sadlers Wells, London, 26th Nov 2010(This research project is funded by Japan Foundation, PMI2 Connect/British Council Grant and RDF Grant by Brunel Univresity)

Lezione dottorale presso Sapienza - Università di Roma
(Dottorato di Ricerca in Musica e Spettacolo - Curriculum Spettacolo, a cura di Vito Di Bernardi)
Ex Vetrerie Sciarra – Via dei Volsci 122 Roma
Martedì 8 marzo – Ore 16

La lezione documenta la presenza del mito di Medea nel teatro di danza, dal balletto pantomimo Medée et Jason di Jean-Georges Noverre (1763) alla Medea di Pascal Quignard per Carlotta Ikeda (2010), a partire dall’analisi, nel testo tragico euripideo, della dominante anatomica dello sguardo: gli «occhi fissi» di Medea, «occhi di lacrime», «occhi minacciosi», «occhi falsi, obliqui e distolti» o «ciechi» perché guardano il sole e la terra. Nel pieno crollo della propria autorappresentazione, questo sguardo sembra di volta in volta rivelare una feroce verità: esso è un gesto che si fa corpo inscritto di una alterità che chiede riconoscimento attraverso l’orrore di una performance eccessiva. Per ricordare che non esiste unicità, come ad esempio quella che una madre riconosce nel proprio figlio. E che la cura per l’inerme può avvenire, anche, in una direzione che non è quella della vita.
Aula E

Review of "Palermo Palermo. A Piece by Pina Bausch" as part of an event that took place in Teatro Biondo for celebrating the memory of Pina Bausch and for marking 30 years since the creation of her work "Palermo Palermo".

Available at the global theatre portal The Theatre Times: https://thetheatretimes.com/palermo-palermo-now-then-and-after/

Pierwsza w Polsce książka o tańcu współczesnym. Spojrzenie na jego korzenie oraz proces rozwoju, a także związki z innymi dziedzinami sztuki. Do tego sylwetki najważniejszych twórców. Niezastąpiony przewodnik po eksperymentach, których podmiotem jest ciało w ruchu. Różnorodne zastosowanie: jako podręcznik, ale i do poduszki. Dla początkujących, jak też zaawansowanych.

This is the English part of my new book on contemporary dance choreographer Pál Frenák.

Pál Frenák is one of the most exciting contemporary dance choreographers of our time, a dancer/choreographer who defines the very basis of the development of contemporary dance in Hungary. He utilizes the energy found in sign language, used primarily by the deaf and the hard of hearing, and has earned his place in the annals of Hungarian dance history and indeed international recognition by developing a new movement language extremely specific to his work. His calling card with which he entered the world of contemporary dance is his work Tricks & Tracks, which premiered in 1999. This was his most recognizable choreography that contained the Frenákian style elements that continue to be used today. The organic language of movement, the dynamism that escalates to the extreme, both in movement and music, the almost cosy feeling of home in a chaotic system, the confrontation with the bare nakedness that symbolizes the self-acceptance of the individual, the use of specialist lighting technology that appears to fragment movement, the destabilizing of the dancers and thus the audiences, the conveying of the attraction to Japanese culture using certain inspirations from Butoh, the use of sign language, and the extraordinary ability to fuse bodies while in movement. These are the features that lend the truly unique style to the intellectual father of the Hungarian company that works with internationally renowned dancers, whose performances have been staged without interruption since 1991 both in Hungary and abroad. The high level of technical preparedness and the singular (peripheral, organic) choreographic language is able to reach audiences around the world. This is why his company, after numerous international tours, has staged performances of multiple productions simultaneously at Hungarian venues: the Trafó House of Contemporary Arts, Müpa Budapest, the Hungarian State Opera, and the National Dance Theatre. (p.128.)

How can we, and from where is it even possible to begin to approach that special world that is the creature of Pal Frenak and what is the totality of his style and creations? When talking of Frenák’s world, I think of the artistic world that is far more expansive than an œuvre, the totality of a real and imaginary world of a man who uses the same essential characteristics to portray himself in all of his works. The communication system used by the deaf and the hard of hearing plays a cardinal role in his dance arts, as do the exaggerated and deformed gestures that are part of his organic language of movement and that are fundamentally built in the gestures used by sign language. He studies the energies in the use of the sign language of the deaf and hard of hearing. (p.142.)

As the problems of the creation of a unique world inspire a number of Frenák’s choreographic, it makes sense to approach the presentation of his works from the perspective of the characteristics of his unique world. In the case of artists who are able to convey the pieces of the mood to the same characteristic world in an authentic manner using their unique styles in all of the works, it can be assumed that they have a homogeneous aesthetics of existence with deeper content. This unique/individual style formulates the œuvre. The movement, style, and attention defining effect of the sign language used by the deaf and the hard of hearing influences the entire body, as it has obviously done with Frenák’s relationship to the body. During the years he spent in state care, the only escape from the harsh reality of being excluded and unloved were his rough, dance-like bodily experiments. In the case of Frenák, the struggles of childish self-expression were organically linked to his later bodily experiments, in learning about his own body, and his characteristic somatic style; he than also expects self-knowledge and self-expression from his dancers. (p.146.)

Előszó ..............................................................................................7–16. oldal
Preface .................................................................................... 131–140. page
A megragadhatatlan megközelítése ..................................... 17–28. oldal
Approaching the unattainable ............................................ 141–154. page
Átjárhatóság ................................................................................ 29–38. oldal
Transversality ........................................................................ 155–162. page
Bezártság ..................................................................................... 39–50. oldal
Confinement .......................................................................... 163–174. page
Tükör ............................................................................................ 51–64. oldal
Mirror ..................................................................................... 175–186. page
Néma sikoly ............................................................................... 65–68. oldal
Soundless scream ................................................................. 187–190. page
Spirál ............................................................................................ 69–78. oldal
Spiral ....................................................................................... 191–200. page
Rezonanciák – Ösztön – Animalitás ............................................ 79–88. oldal
Resonances—Instinct—Animality ..................................... 201–210. page
Butoh ............................................................................................ 89–96. oldal
Butoh ...................................................................................... 211–220. page
Káosz – instabilitás – destabilizáció ........................................... 97–110. oldal
Chaos—Instability—Destabilization ................................. 221–232. page
Vágy – erotika – (libidó)energia ................................................. 111–127. oldal
Desire—erotica—(libido) energy ....................................... 233–247. page
Bibliográfia ............................................................................ 248–257. oldal
Bibliography .......................................................................... 248–257. page
Kreációk ................................................................................. 258–259. oldal
Creations ............................................................................... 258–259. page
Közreműködők ...................................................................... 260–261. oldal
Contributors .......................................................................... 260–261. page
Névmutató ............................................................................ 262–266. oldal
Name index ........................................................................... 262–266. page

Chiaroscuri, pause e silenzi, movimenti e linee fratte. Un trittico composito di stili e musiche diversi, spezzato come una Z, che si disegna con un continuo cambio di direzione, trova il suo collante nel contrasto che declinato in tutte le sue forme genera l'azione e attrae.