“All that is dark, potential, and quiet”: Riding the hinge in the witch's dance

IF 1.2 Q2 ANTHROPOLOGY
J. Shannon
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引用次数: 0

Abstract

In this paper, I analyze the witch's dance through the lens of Jahra “Rager” Wasasala's bloo/d/runk (2016) and Liz Lerman's Wicked Bodies (2020) whose invocation of the witch through the moving body, I argue, goes beyond merely metaphorical or esthetic applications, but enacts a certain dramaturgical function as a hinging threshold, a dynamic site of negotiation between material and immaterial forces. In my analysis, I sketch the contours of a hinge‐analytic called “riding the hinge,” seeking suspension in the hinges of performance in order to account for how invisible forces assume presence on stage through the figure of the witch as she dances. “Riding the hinge,” I argue, is a practice performed by choreographers who engage the transformational presencing power of the body of the witch in performance, as well as a critical methodology for analyzing such works.
"一切黑暗、潜能和宁静":在女巫的舞蹈中驾驭铰链
在本文中,我通过贾拉-"拉格"-瓦萨拉的《血/醉》(2016)和利兹-勒曼的《邪恶之躯》(2020)的视角分析了女巫的舞蹈,我认为,这两部作品通过移动的身体对女巫的召唤不仅仅是隐喻或美学上的应用,而是作为一个铰链门槛,一个物质和非物质力量之间谈判的动态场所,发挥了一定的戏剧功能。在我的分析中,我勾勒出一种被称为 "驾驭铰链 "的铰链分析的轮廓,在表演的铰链中寻求悬浮,以解释无形的力量是如何通过女巫的舞蹈形象在舞台上呈现的。我认为,"驾驭铰链 "是编舞家在表演中运用女巫身体的变革性存在力量的一种实践,也是分析此类作品的一种批判性方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.40
自引率
33.30%
发文量
27
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