FINAL BOW FOR YELLOWFACE: DANCING BETWEEN INTENTION AND IMPACT by Phil Chan. 2020. With Michele Chase. New York: Yellow Peril Press. 238 pp., 12 photographs. $24.99 paper. ISBN: 9781734732481.

IF 0.4 2区 艺术学 0 DANCE
Menghang Wu
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引用次数: 1

Abstract

to Christian religious practices. Notably, Mullis’s analysis of dance/theater works portraying Shaker culture forms the framework for a discussion of performative strategies that support his choreographic treatments of ecstatic Protestantism. Focusing on ethics and efficacy, Mullis argues for dialogic engagements with theology that avoid reducing religious embodiment to a set of aesthetic principles aligning with modernism. This examination of historical works concludes with an analysis of Mullis’s own The Land of Nod, which he uses to demonstrate (1) strategies for performatively engaging with theologies that allow for critical reflection and (2) ethical concerns arising from working with a living religion. Calling attention to how theatrical representations of the Shakers live at a historical distance from the sect, Mullis demonstrates how this leads to idealized representations and a focus on decontextualized material culture that “mythologizes” religion (112). Further positioning his examples, Mullis argues that his treatment of charismatic Pentecostalism in Later Rain faces different ethical concerns because it could offend existing practitioners, and focuses on theatrically presenting ecstatic movement, rather than a specific religion or religious community. Instead, Later Rain and The Land of Nod offer a model for how dance might critically and ethically engage with religious praxis. Overall, discussions of his performance works and choreographies either begin or end chapters, and are sometimes quite brief. This aspect of the text reflects the overall organization, which shifts between perspectives and methodologies. Eric Mullis’s Pragmatist Philosophy and Dance offers a rich treatment of pragmatism, theology, and somaesthetics, placing these bodies of thought in relationship to one another and dancerly embodiment in significant and fruitful ways.
黄脸的最后一鞠躬:在意图和影响之间跳舞,菲尔·陈,2020。米歇尔·蔡斯。纽约:黄祸出版社,238页,12张照片。24.99美元。ISBN: 9781734732481。
基督教的宗教习俗值得注意的是,穆利斯对描绘震教徒文化的舞蹈/戏剧作品的分析,为讨论表演策略提供了框架,这些策略支持了他对狂喜的新教的编舞处理。专注于伦理和功效,Mullis主张与神学进行对话,避免将宗教具体化为与现代主义一致的一套美学原则。对历史作品的考察以对Mullis自己的《打盹之地》的分析作为结束,他用它来展示(1)与允许批判性反思的神学进行表演的策略;(2)与一个活生生的宗教合作所引起的伦理问题。穆利斯呼吁人们关注震动派的戏剧表现是如何与该教派保持历史距离的,他展示了这是如何导致理想化的表现和对非语境化的物质文化的关注,这种文化将宗教“神话化”(112)。穆利斯进一步定位了他的例子,他认为他在《晚雨》中对魅力派五旬节派的处理面临着不同的伦理问题,因为它可能会冒犯现有的实践者,并且专注于戏剧性地呈现狂喜运动,而不是特定的宗教或宗教团体。相反,《晚雨》和《打盹之地》为舞蹈如何在批判和道德上与宗教实践相结合提供了一个模式。总的来说,对他的表演作品和编舞的讨论要么开始,要么结束,有时非常简短。文本的这一方面反映了整体组织,它在观点和方法之间转换。埃里克·穆利斯的《实用主义哲学与舞蹈》对实用主义、神学和躯体美学进行了丰富的论述,将这些思想体系彼此联系起来,并以富有成效的方式舞蹈化地体现出来。
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来源期刊
CiteScore
1.20
自引率
0.00%
发文量
15
期刊介绍: Dance Research Journal is the longest running, peer reviewed journal in its field, and has become one of the foremost international outlets for dance research scholarship. The journal carries scholarly articles, book reviews, and a list of books and journals received.
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