边缘断裂：Carolee Schneemann对舞蹈的渴望

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

CAMERA OBSCURA Pub Date : 2021-09-01 DOI:10.1215/02705346-9052900

Danielle Goldman

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引用次数: 0

摘要

在20世纪50年代末和60年代初，Carolee Schneemann主要被认为是一名画家。但她是一个敏锐而敏锐的舞蹈观察者。本文考虑了施尼曼为贾德森舞蹈剧院大胆的表演作品，并反思了它在她去世时以及在新型冠状病毒（新冠肺炎）迫使世界分裂的情况下的持续重要性。

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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Breaking at the Edges: Carolee Schneemann's Desires for Dance

During the late 1950s and early 1960s, Carolee Schneemann primarily identified as a painter. But she was a keen and cutting observer of dance. This article considers Schneemann's audacious performance work for the Judson Dance Theater and reflects on its ongoing importance both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19).

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来源期刊

CAMERA OBSCURA FILM, RADIO, TELEVISION-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.