Hostname: page-component-586b7cd67f-tf8b9 Total loading time: 0 Render date: 2024-11-20T11:22:16.487Z Has data issue: false hasContentIssue false
  • English
  • Français

Citational Poetics in Dance: … of a faun (fragments) by the Albrecht Knust Quartet, before and after 2000

Published online by Cambridge University Press:  29 August 2012

Isabelle Launay
Get access Rights & Permissions [Opens in a new window]

Extract

How does one come to terms with the “already said” or the “already danced”? I ask this in light of the many instances where contemporary dance has insistently undertaken—as a condition of its own renewal—a critique of past works that have been transmitted through the oral tradition. This undoing of the oral tradition's dominance has instantiated a new relation to the past in contemporary dance. Hannah Arendt throws some light on this process when she quotes Walter Benjamin, for whom modernity required that we find a different way of connecting with the past—one that would replace transmission with citationality. To cite, in speech act theory, as in dance, presupposes that the authority of the past be replaced with that disquieting ability of the past to infiltrate the present in a disembodied way (Arendt 1974, 291). The challenge of citation to the prestige of oral person-to-person transmission of a dance has introduced a new way for contemporary artists to relate to and re-embody past works.

Type
Articles
Information
Dance Research Journal , Volume 44 , Issue 2 , Winter 2012 , pp. 49 - 69
Copyright
Copyright © Congress on Research in Dance 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Arendt, Hanna. 1974. “Walter Benjamin 1892–1940.” In Vies politiques, 292. Paris: Gallimard.Google Scholar
Banes, Sally. 1987. Terpsichore in Sneakers: Post-Modern Dance. Middletown, CT: Wesleyan University Press.Google Scholar
Barthes, Roland. 1973. “Texte (théorie du).” In Encyclopaedia Universalis, Vol. 15, 1013–1017. Paris: Albin Michel.Google Scholar
Bazzani, Monia. 1998. “L'Interprète contemporain et le processus d'actualisation de l’œuvre chorégraphique, la reprise de Two Ecstatic Themes de Doris Humphrey par Dominique Brun and Adieu et Merci de Mary Wigman par Dominique Brunet.” Master's thesis, Département Danse, University Paris 8.Google Scholar
Beckett, Samuel. 1946/1955. “First Love.” In The Complete Short Prose of Samuel Beckett 1929–1989, edited and with and introduction and notes by Gontarski, S. E.. New York: Grove Press.Google Scholar
Boulanger, Anne. 2004. “Analyse … d'un faune … éclats du Quatuor Knust. Master's thesis, Université Paris 8, Paris.Google Scholar
Brun, Dominique. 2006. “Le trait et le retrait.” Quant à la danse 3: 33–41.Google Scholar
Butor, Michel. 1969. Foreword. In L'Arc, Michel Butor, no. 39, 2–6. Aix-en-Provence.Google Scholar
Clisson-de Macedo, Amélie. 2010. “Les Fêtes musicales de la Sainte-Baume, 1976–1980.” In Mémoires et histoire en danse, edited by Isabelle, Launay and Pagès, Sylviane, 443–454. Paris: L'Harmattan.Google Scholar
Collod, Anne, Hecquet, Simon, and Wavelet, Christophe. 2002. “Le Quatuor Albrecht Knust.” Art Press 23 [Médium: Danse]: 16–22.Google Scholar
Compagnon, Antoine. 1979. La seconde main ou le travail de la citation. Paris: Seuil.Google Scholar
Derrida, Jacques. 1998. Archive Fever: A Freudian Impression. Translated by Prenowitz, Eric. Chicago London: The University of Chicago Press.Google Scholar
Dupuy, Françoise, and Dupuy, Dominique. 2002. Une danse à l’œuvre. Centre national de la danse, Pantin.Google Scholar
Foucault, Michel. 1998. “Nietzsche, Genealogy, History.” In Aesthetics, Method, and Epistemology, edited by Faubion, James D., 369–92. New York: The New Press.Google Scholar
Franko, Mark. 1993. Dance as Text: Ideologies of the Baroque Body. New York: Cambridge University Press.Google Scholar
Garafola, Lynn. 1989. Diaghilev's Ballets Russes. New York: Oxford University Press.Google Scholar
Genette, Gérard. 1997. Palimpsests: Literature in the Second Degree. Lincoln, NE: University of Nebraska Press.Google Scholar
Guest, Ann Hutchinson. 1991. “Nijinsky's Faune.” Choreography and Dance 1(3): 3–34.Google Scholar
Guest, Ann Hutchinson, and Jeschke, Claudia. 1991. Nijinsky's Faune Restored: A Study of Vaslav Nijinsky's 1915 Dance Score L'Après-midi d'un faune and His Dance Notation System. Philadelphia: Gordon & Breach.Google Scholar
Hecquet, Simon, and Prokhoris, Sabine. 2007. Fabriques de la danse. Paris: Presses Universitaires de France.CrossRefGoogle Scholar
Hodson, Millicent. 1982. “Afternoons in London.” Avant Scène, Ballet Danse, L'Après midi d'un faune: 50–52.Google Scholar
Järvinen, Hanna. 2010. “Failed Impressions: Diaghilev's Ballets Russes in America, 1916.” Dance Research Journal 42(2): 77–108.CrossRefGoogle Scholar
Kristeva, Julia. 1969. Séméiotiké, Recherches pour une sèmanalyse. Paris: Seuil.Google Scholar
Launay, Isabelle. 2009. “Poétique de l'extase en danse, formes de mémoire et d'oubli chez Mary Wigman et Valeska Gert.” In Destruction, formes, rythmes, ‘expressionisme’, une esthétique du conflit, edited by Bloess, G., 259–276. Paris: L'Harmattan.Google Scholar
Launay, Isabelle.. 2010. “Poétique de la citation en danse: d'un faune (éclats) du Quattuor Albrecht Knust, avant-après 2000.” In Mémoires et histoire en danse, edited by Isabelle, Launay and Pagès, Sylviane, 23–72. Paris: L'Harmattan.Google Scholar
Mallarmé, Stéphane. 1945. Œuvres complètes. Paris: Gallimard.Google Scholar
Montaigne, Michel de. 1957. The Complete Essays of Montaigne. Translated by Frame, Donald M.. Stanford, CA: Stanford University Press.Google Scholar
Mallarmé, Stéphane. 1962. Essais, volume 2. Paris: Editions Garnier Frères.Google Scholar
Nijinska, Bronislava. 1992. Early Memoirs. Translated and edited by Nijinska, Irina and Rawlinson, Jean. Durham, NC: Duke University Press.Google Scholar
Nijinsky, Romola Romola de Pulszky. 1934. Nijinsky. New York: Simon and Schuster.Google Scholar
Paré, Jean-Christophe. 2010. “Interpréter le répertoire de l'Opéra de Paris.” In Memoires et histoire en danse, 89–127. Paris: L'Harmattan.Google Scholar
Rivière, Enora. 2003. “Expérience d'une remémoration, du processus de creation à la pièce, … d'un faune (éclats) du Quatuor Knust.” Master's thesis, Université Paris 8, Paris.Google Scholar
Samoyault, Tiphaine. 2004. L'intertexualité, mémoire de la litérature. Paris: Nathan.Google Scholar
Schneider, Michel. 1985. Voleurs de mots, essai sur le plagiat, la psychanalyse et la pensée. Paris: Gallimard.Google Scholar
Vaughan, David. 1982. “Faune redivivus.” Ballet Danse, Avant-scène: 65.Google Scholar
Wigman, Mary. 1966. The Languages of Dance. Translated by Sorell, Walter. London: MacDonald & Evans.Google Scholar
Zumthor, Paul. 1983. Introduction à la poésie orale. Paris: Seuil.Google Scholar