Nicole Haitzinger

Claudia Jeschke

Irene Brandenburg

Sandra Chatterjee

Die Beiträge in diesem Heft gehen aus zwei künstlerisch-wissenschaftlichen Symposien hervor, die im Mai 2014 an der Universität Salzburg stattfanden: „Material and Bodily Archives, Oral Histories, and Kinesthetic Connections“ und „Re-Stagings of Don Juans“. Sie sind hier im „doing memory“ zusammengeführt, im Erinnern als egenwärtig performativem Akt – ein Akt, der sich, wenn auch in unterschiedlicher Gewichtung, in jeder Kommunikation, also auch in (wissenschaftlichen) Vorträgen und (künstlerischen) szenischen Umsetzungen perspektivieren lässt.

Zwischen Don Juan und Bharatanatyam

Tanz & Archiv - Doing Memory. Heft 6

Gabi Vettermann

In 19th century culture, Hispanomania creates Les Choses espagnoles; they exhibit themselves as themes and forms of appearance as well as structures and techniques. Hispanomania is a temporary fashion and functions as a metaphor; it reflects numerous sources which are arranged in a fantastic way. Hispanomania leaves traces in the materials of the performative arts i.e., in librettos, theories, and reviews. The book focuses on re-construction of several concepts and practices in ‘Spanish’ dancing: an overview of dance librettology is linked to the discussion of ‘staging Spanishness’; the connection between choreography and dance-theoretical discourse concerning the Spanish is pursued; performances of Otherness – especially as monsters and women – are discussed in their theatrical and cultural contexts – as is the investigation of dance criticism; the hitherto little acknowledged biography of the then popular and highly productive choreographer Henri Justamant is highlighted …

Research Into the Hispanomania of 19th Century Dance

Les Choses Espagnoles

The study is devoted to the problem of motion analysis and centers on 20th century social dancing and dance theatre. The main focus is on the motorics of the body-in-motion. Analytic observation and description (by means of a newly developed system for recording movement) chart the phenomena studied in terms of the way they form 'motion-texts'. The usefulness of this system is evidenced not only in comparison with traditional description and notation techniques but more especially in the confrontation of popular 20th century dance forms (from tango to twist) with works of dance theatre from the period between 1910 and 1965. The analysis identifies period-specific patterns of motoric identity that owe nothing to traditional concepts of style or genre. The avenues thus opened up would also repay exploration for their potential contribution to a historical study of bodily movement in a broader theatrical and cultural ambit.

Analysen zum Verhältnis von Tanztheater und Gesellschaftstanz (1910-1965)

Tanz als BewegungsText

Ann Hutchinson Guest

This third volume in The Language of Dance series presents Nijinsky's ballet as he himself recorded it in 1915, making this authentic version, translated into Labanotation, immediately available to dance students, teachers, scholars and researchers. It intentionally includes the historical background, the chronology of Niminsky's performances of "Faune," Nijinsky's production notes, analysis of the choreographic style of the ballet, detailed study and performance notes, approaches to learning and teaching the ballet, research problems encountered in the transcription and revival, and a comprehensive explanation of Nijinsky's notation system with examples from his score. Supplemented by photographs of the 1912 production and with the music adjacent to the dance phrases, this book provides unique access to a much discussed and elusive ballet. Nijinsky's score of his "L'Apres-midi d'un faune" lay unused for nearly forty years after his death, because nobody could read it. In 1987

A Study of Vaslav Nijinsky's 1915 Dance Score : L'après-midi D'un Faune and His Dance Notation System : Revealed, Translated Into Labanotation and Annotated

Claudia Jeschke

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