Modernism and the Choreographic Imagination最新文献

‘Unlocatable Bodies’: Modernist Veiled Dancers from Loïe Fuller to Maud Allan “无法定位的身体”:从Loïe富勒到莫德艾伦的现代面纱舞者

Modernism and the Choreographic Imagination Pub Date : 2021-05-21 DOI: 10.3366/edinburgh/9781474481625.003.0002

Megan Girdwood

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Epilogue 后记

Modernism and the Choreographic Imagination Pub Date : 2021-05-21 DOI: 10.3366/edinburgh/9781474481625.003.0006

Megan Girdwood

{"title":"Epilogue","authors":"Megan Girdwood","doi":"10.3366/edinburgh/9781474481625.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474481625.003.0006","url":null,"abstract":"This final chapter asks what became of the veiled woman-in-movement as Salome’s popularity waned and the period of canonical modernism drew to a close. Briefly discussing Salome’s mid-twentieth-century afterlives in Martha Graham’s Herodiade (1944) and Billy Wilder’s Sunset Boulevard (1950), this epilogue primarily traces references to Salome across the work of Samuel Beckett. Scattered and disparate though they may be, these traces point to Beckett’s deeper absorption of this paradigmatic modernist dance as a ‘metamorphic phantom’ that he would harness to the demands of his own theatre. If his late nineteenth and early twentieth-century precursors imagined the dancer to be ‘invisible’ beneath her veils, Beckett at once deconstructed and paradoxically re-embodied this dancer in his abstract stage choreographies, organising his works around dramatically reduced gestures and forms of movement. Beckett’s work provides us with one way of recovering the often-underplayed continuities between late nineteenth-century Symbolism and modernist theatre at its most abstract, showing how the forms associated with Salome’s dance were adopted and transformed in the second half of the twentieth century.","PeriodicalId":433339,"journal":{"name":"Modernism and the Choreographic Imagination","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124250693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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‘Harmonies of Light’: Ciné-Dances and Women’s Silent Film 《光的和谐》:cin<s:1>舞蹈与女性默片

Modernism and the Choreographic Imagination Pub Date : 2021-05-21 DOI: 10.3366/edinburgh/9781474481625.003.0004

Megan Girdwood

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‘Herodias’ Daughters Have Returned Again’: W. B. Yeats and the Ideal Body “希罗底的女儿们又回来了”:叶芝和理想的身体

Modernism and the Choreographic Imagination Pub Date : 2021-05-21 DOI: 10.3366/edinburgh/9781474481625.003.0005

Megan Girdwood

引用次数: 0

‘That Invisible Dance’: Symbolism, Salomé and Oscar Wilde’s Choreographic Aesthetics 《看不见的舞蹈》:象征主义、喜剧和奥斯卡·王尔德的舞蹈美学

Modernism and the Choreographic Imagination Pub Date : 2021-05-21 DOI: 10.3366/edinburgh/9781474481625.003.0003

Megan Girdwood

引用次数: 1