The dancing body as a living archive

IF 0.2 0 DANCE

Choreographic Practices Pub Date : 2023-06-01 DOI:10.1386/chor_00058_3

Christelle Becholey Besson, C. Vionnet

引用次数: 0

Abstract

This autoethnographic video essay is based on The Shadow of Others, a performance presented in the seven-storey Sir Duncan Rice Library in Aberdeen (Scotland) in May 2017. Focusing on the phenomenology of the dancing body, the performance unfolded the complexity and richness of gestures. Departing from the assumption that a soloist moves with their shadows (gestures from previous dances), I argue for the plural shaping every singular gesture. Combining dance and anthropology, this video essay revisits the notions of archive, repertoire and anarchive, and proposes a reflection on the intermingling of time, gestures, memory, knowledge and history. Claiming that the (dancing) body is a living archive, I use the metaphor of shadow as a linkage between bodies and movements. Drawing on performance studies and contemporary philosophy, the work emphasizes the way artistic creation generates knowledge, asking the value of embodied practices. Link to video essay: https://www.youtube.com/watch?v=YgCTOWmarko. The video essay is also available as an online resource for the digital edition of this article (Online Resource 1: ‘The body as a living archive’).

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作为活档案的舞蹈身体

这篇民族志视频文章基于2017年5月在苏格兰阿伯丁七层楼高的邓肯·赖斯爵士图书馆上演的《他人的阴影》。表演以舞蹈身体的现象学为中心，展现了手势的复杂性和丰富性。与独奏者随着阴影移动的假设（之前舞蹈中的手势）不同，我主张复数塑造每一个单数手势。结合舞蹈和人类学，这篇视频文章重新审视了档案、曲目和无政府主义的概念，并提出了对时间、手势、记忆、知识和历史混合的反思。我声称（跳舞的）身体是一个活的档案，我用阴影的比喻来比喻身体和动作之间的联系。该作品借鉴了表演研究和当代哲学，强调艺术创作产生知识的方式，询问具体实践的价值。视频文章链接：https://www.youtube.com/watch?v=YgCTOWmarko.视频文章也可以作为本文数字版的在线资源（在线资源1：“身体是一个活的档案”）。

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

Choreographic Practices DANCE-

CiteScore

0.10

自引率

0.00%

发文量

期刊介绍： Choreographic Practices operates from the principle that dance embodies ideas and can be productively enlivened when considered as a mode of critical and creative discourse. This double-blind peer-reviewed journal provides a platform for sharing choreographic practices, critical inquiry and debate. Placing an emphasis on processes and practices over products, this journal seeks to engender dynamic relationships between theory and practice, choreographer and scholar, so that these distinctions may be shifted and traversed. Choreographic Practices will encompass a wide range of methodologies and critical perspectives such that interdisciplinary processes in performance can be understood as they intersect with other territories in the arts and beyond (for example, cultural studies, psychology, phenomenology, geography, philosophy and economics). In this way, the journal will open up the nature and scope of dance practice as research and draw together diverse bodies of knowledge and ways of knowing to illuminate an emerging and vibrant research area.