Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman

1994 ◽  
Vol 38 (3) ◽  
pp. 187
Author(s):  
Karl Toepfer ◽  
Susan Manning
Keyword(s):  
Mary Wigman

MARY WIGMAN: A LIFE IN DANCE

Mary Wigman ◽  
2008 ◽  
pp. 19-81
Keyword(s):  
Mary Wigman

Aesthetic Strategies of Trance-gression: The Politics of Bodily Scenes of Ecstasy

2019 ◽  
Vol 51 (2) ◽  
pp. 4-17 ◽  
Author(s):  
Sabine Huschka
Keyword(s):  
The Body ◽  
Contemporary Dance ◽  
Mary Wigman

Choreographic bodies are empowered by modes of expansion and transgression. Focusing on the energetic processes that lead to such empowerment, this article discusses the perceptual politics of trancelike scenes in the work of contemporary European choreographers and performers. As a body-mobilizing choreographic strategy of out-of-body and out-of-mind experiences, trance is closely linked to critical and utopian ideas, bodily transgressions, and crossed boundaries. While Mary Wigman treats trance as an incantation which contains the powers that it unleashes, contemporary choreographers like Doris Uhlich or Meg Stuart, expose the body to powers that nearly disintegrate it. As opposed to Wigman-style modernism, contemporary dance stages movement as a tremendous event that exposes performers and audiences to experiences of transgression.

Mary Wigman

2009 ◽  
Vol 46 (11) ◽  
pp. 46-6110-46-6110
Keyword(s):  
Mary Wigman

Mary Wigman

2017 ◽  
Author(s):  
Mary Anne Santos Newhall
Keyword(s):  
Mary Wigman

Reenactment, Dance Identity, and Historical Fictions

2017 ◽  
Author(s):  
Anna Pakes
Keyword(s):  
Historical Fiction ◽  
Recent Trend ◽  
Thought Experiments ◽  
Sleeping Beauty ◽  
The Body ◽  
Past Performance ◽  
Work Type ◽  
Dance Identity ◽  
Historical Fictions ◽  
Mary Wigman

Commentary on the recent trend toward performance “reenactment” suggests that there is something distinctive about how the phenomenon enables past dances to return. This raises ontological and identity questions that this chapter explores through three central cases: Fabian Barba’s (2009) A Mary Wigman Dance Evening, Philippe Decouflé’s (2012) Panorama, and the Kirov Ballet’s (1999) restaging of Marius Petipa’s The Sleeping Beauty. Do past dances reappear in reenactment, and, if so, how? Does the reenactment offer new tokens of a choreographic work type, or a redoing of a past performance event? Critically analyzing ideas central to the reenactment literature about the body-as-archive and affective history, the chapter argues for a conception of reenactment (alongside other models of dance reconstruction) as a form of historical fiction. As such, reenactment represents, rather than “re-instances,” past dances, hazarding and testing historical claims, by presenting thought experiments about how those dances might have been.

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