{"title":"Bibliographie","authors":"","doi":"10.3917/cdd.001.0043","DOIUrl":"https://doi.org/10.3917/cdd.001.0043","url":null,"abstract":"","PeriodicalId":487284,"journal":{"name":"Cahiers de danse","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136047694","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}
{"title":"Transtatus","authors":"Fenia Kotsopoulou","doi":"10.3917/cdd.001.0032","DOIUrl":"https://doi.org/10.3917/cdd.001.0032","url":null,"abstract":"À rebours de la temporalité d’une vie – l’article précédent évoquait les derniers instants de Kazuo Ôno – l’artiste grecque Fenia Kotsopoulou nous interpelle quant à la valeur symbolique de l’âge de quarante ans. Moment de seuil, il témoigne de l’incorporation de normes sociales et temporelles : l’âge révèle la violence d’un monde patriarcal sur le corps vécu et perçu d’une femme artiste.","PeriodicalId":487284,"journal":{"name":"Cahiers de danse","volume":"212 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136047696","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}
{"title":"Traduire Jill Johnston","authors":"Pauline L. Boulba","doi":"10.3917/cdd.001.0014","DOIUrl":"https://doi.org/10.3917/cdd.001.0014","url":null,"abstract":"Le dialogue entre Pauline L. Boulba et Marisa Hayes s’attache aux résonances artistiques des écrits de Jill Johnston : la transition devient une entreprise de traduction. D’une langue à une autre, d’une écriture journalistique, brève et régulière, au projet d’un livre augmenté d’un film et d’une performance, il est question des médiums d’expression d’une pensée de la danse.","PeriodicalId":487284,"journal":{"name":"Cahiers de danse","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136047702","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}
{"title":"Textures étranges","authors":"Marie Bardet","doi":"10.3917/cdd.001.0018","DOIUrl":"https://doi.org/10.3917/cdd.001.0018","url":null,"abstract":"D’un siècle à l’autre, la transition s’inscrit dans l’histoire de la danse : après avoir traversé les récits de la post-modern dance avec les textes de Jill Johnston, nous voici plongés dans la Belle Époque. Avec les mots de Marie Bardet, Loïe Fuller déploie ses gestes sur et au travers du tissu de ses costumes, et nous incite à percevoir la transition comme une inflexion de nos habitudes de regard.","PeriodicalId":487284,"journal":{"name":"Cahiers de danse","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136047704","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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