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Training the anti-spectacular for Ralph Lemon's dance that disappears

机译:为拉尔夫·莱蒙的消失的舞蹈训练反视觉

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In fall 2010 choreographer and visual artist Ralph Lemon presented his first large-scale performance project in six years. Entitled How Can You Stay in the House All Day and Not Go Anywhere?, the work departed, in large part, from a three-minute structured improvisation he had staged near the close of 2004's Come home Charley Patton. In 2008 Lemon reassembled the cast of Patton, asking the group to re-enact that turbulent, unruly improvisation from four years earlier, and then keep pushing it further, extending it over 20minutes. For Lemon this meant pushing the idea of a dance of a??non-form,a?? a dance a??that disappearsa??? -? in other words, a furious dance that would resist being choreographed, structured, remembered, or even seen beyond its expression in an eternal present. The rehearsals for this movement (which eventually became the second of three sections of the stage work) were gruelling? -? the project admitted no a??markinga?? or a??breaking downa??, and theonly way to proceed was to do it full body, full time, full throttle. This begged the question: how does one train for a dance that disappears? Perhaps either no training was possible, or the training was all there was. This paper grapples with the implications of Lemon's disappearing dance for both its performers and its eventual witnesses, relating it to an evolving tradition of anti-spectacular performance that values process over visible product.View full textDownload full textKeywordsRalph Lemon, How Can You Stay in the House All Day and Not Go Anywhere? , Come home Charley Patton , structured improvisation, anti-spectacular, mourningRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/19443927.2011.607373
机译:2010年秋天,编舞兼视觉艺术家Ralph Lemon展示了他六年来的第一个大型表演项目。题为“你怎么能整天呆在屋子里而不是走到哪里去?”的作品,很大程度上与他在2004年的《回家》查理·帕顿(Come home Charley Patton)闭幕时上演的三分钟结构化即兴演奏有关。在2008年,Lemon重新组装了Patton的演员表,要求该小组重新制定四年前的动荡不羁的即兴创作,然后继续推动它,将其延长20分钟。对于柠檬来说,这意味着要推动一种“非形式的”舞蹈的想法。一种舞蹈?那消失了吗? -?换句话说,这是一种愤怒的舞蹈,它将无法被编排,结构化,记忆化,甚至无法在永恒的现在中表达出来。这项运动的彩排(最终成为舞台作品三个部分中的第二个)令人讨厌吗? -?该项目没有任何标记?或“破坏”,唯一的方法是全身,全时,全油门。这就提出了一个问题:如何训练一辆消失的舞蹈?也许没有培训是可能的,或者仅仅是培训而已。本文探讨了柠檬消失的舞蹈对表演者和最终证人的影响,并将其与一种不断发展的反眼镜表演传统相联系,该传统重视对可见产品的处理。查看全文下载全文关键词拉尔夫·柠檬,你如何留在整天待在屋子里,什么都不走? ,请回家,查理·帕顿(Charley Patton),结构化即兴创作,反壮观,哀悼相关变量var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布号:“ ra-4dff56cd6bb1830b”}; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/19443927.2011.607373

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