Archives Internationales de la Danse [International Archives of Dance (AID)] (1931–1952)

2018 ◽  
Author(s):  
Sanja Andus L’Hotellier
Keyword(s):  
Quarterly Journal ◽  
Research Environment ◽  
Classical Dance ◽  
Performance Space ◽  
Innovative Research ◽  
Institutional Void ◽  
The Creation ◽  
And Performance

The Archives Internationales de la Danse (AID) was a pioneering dance foundation created by Rolf de Maré in Paris in 1931. Devoted to dance in all its forms and global manifestations, this unique venue comprised a dance museum, library, archive, a sociology and ethnography section, conference hall, and an exhibition and performance space. Created as a response to the institutional void for dance, AID focussed its activities in four general areas—exhibitions, choreography competitions, research, and publication. Between 1932 and 1947 AID produced thirteen exhibitions and three international choreographic competitions, in addition to promoting research through its collections and ethnographic projects, and publishing a quarterly journal, La Revue des A.I.D. (The AID Review), from 1933 to 1937. In a landscape marked by the preeminence of classical dance, AID supported modern forms of choreography, the exploration of non-Western traditions, and the creation of an innovative research environment.

‘She will wear the britsch’: Masculinity and the iconography of Prince Albert

2020 ◽  
Vol 7 (1-2) ◽  
pp. 199-222
Author(s):  
Hannah Bradshaw
Keyword(s):  
Nineteenth Century ◽  
Performance Studies ◽  
Art History ◽  
Male Body ◽  
Masculine Ideology ◽  
The Creation ◽  
Female Rule ◽  
And Performance

This article examines the early representations of Prince Albert that either satirize or attempt to reconcile the hierarchical ambiguities and issue of threatened masculinity that resulted from unconventional male consortship and female rule. It concludes that the latter was achieved through the development of a suitable and legible iconography for a nineteenth-century male consort in adherence with British iconographic tradition and values. Drawing from methods in nineteenth-century art history as well as gender and performance studies and anthropology, it argues that images of the male body play a fundamental role in the construction and perpetuation of masculine ideology and subjectivity through the creation of the semblance of an innate and axiomatic masculine archetype. In doing so, this article problematizes and historicizes masculinity by illuminating the plurality of expressions of masculinity and rejecting the essentialist narrative of masculinity as something measurable or quantifiable, as well as ahistorical, atemporal, apolitical and heteronormative.

The Masks of Greek Tragedy as Point of Departure for Modern Performance

2001 ◽  
Vol 17 (3) ◽  
pp. 254-272 ◽  
Author(s):  
Chris Vervain ◽  
David Wiles
Keyword(s):  
Greek Tragedy ◽  
Research Programme ◽  
Cambridge University ◽  
Performance Space ◽  
And Performance ◽  
The University ◽  
Near Future ◽  
Point Of Departure ◽  
Valuable Point ◽  
New Comedy

In this article, David Wiles and Chris Vervain stake out the ground for a substantial programme of continuing research. Chris Vervain, coming from a background in visual and performance art, is in the first instance a maker of masks. She is also now writing a thesis on the masks of classical tragedy and their possibilities in modern performance, and, in association with the University of Glasgow, working on an AHRB research programme that involves testing the effect of Greek New Comedy masks in performance. David Wiles, Professor of Theatre at Royal Holloway, University of London, has published books on the masks of Greek New Comedy and on Greek performance space, and lectured on Greek masks. Most recently, his Greek Theatre Performance: an Introduction (Cambridge University Press, 2000) included an investigation of the classical mask and insights provided by the work of Lecoq. He is now planning a book on the classical Greek mask. Wiles and Vervain are both committed to the idea that the mask was the determining convention which gave Greek tragedy its identity in the ancient world, and is a valuable point of departure for modern practitioners engaging with the form. They anticipate that their research will in the near future incorporate a symposium and a further report on work-in-progress.

Caccini’s Stages: Identity and Performance Space in the Late Cinquecento Court

2012 ◽  
Author(s):  
MICHAEL MARKHAM
Keyword(s):  
Abstract Space ◽  
Musical Work ◽  
Performance Space ◽  
Physical Transformation ◽  
And Performance

Celebrated performer Giulio Caccini's life as a court musician throws light on the ways in which the soloist formulated and reformulated his/her own identity in order to fit within each of the spaces used for music. Tracing the documented performances associated with Caccini, one can map them onto a continuum of spaces from the most public to the most private. Caccini's successful passage into the more intimate spaces required him to re-form himself as the inheritor of the century-old tradition of the intimate vocal improvvisatori, a stylistic and physical transformation that was, in a sense, his life's work. This performative conception of his musical work is a potent reminder of the ambiguous status of solo song at the beginning of the Seicento, perched between the abstract space of the printed score and the traditional space of the court chamber.

Agency and Renegotiated Identities in the North Atlantic Isles

2019 ◽  
pp. 201-228
Author(s):  
Ruth A. Maher ◽  
Julie M. Bond
Keyword(s):  
Identity Formation ◽  
Active Role ◽  
Orkney Islands ◽  
The North ◽  
Time Period ◽  
The Creation ◽  
And Performance ◽  
Political Economic ◽  
Burial Rituals ◽  
Archaeological Excavations

Humans, as agents, played an active role in the creation and communication of new identities during the Viking period in the Orkney Islands and Iceland. The authors argue that environments are not merely passive backdrops to societal and identity formation but are dynamic contributors in the negotiations that take place when humans settle into new lands. The chapter will focus on the maneuvering and balancing of traditional burial rituals and beliefs within new political, economic, and cosmological landscapes. The comparison of interdisciplinary data from burials, ancient texts, archaeological excavations, and landscape surveys from both regions during the time period of the study will show how the environment aided in the creation and performance of the burial ritual and how the agents’ reshaping of the land helped to form their new identities

Close to Home

2019 ◽  
pp. 68-104
Author(s):  
Alex Eric Hernandez
Keyword(s):  
Eighteenth Century ◽  
Source Material ◽  
Major Theme ◽  
Crime Narratives ◽  
The Creation ◽  
And Performance ◽  
True Crime ◽  
Arden Of Faversham

This chapter explores many of the domestic elements that were central to the creation of bourgeois tragedy in Georgian Britain, focusing especially on George Lillo’s Fatal Curiosity (1736) and his posthumous adaptation of Arden of Faversham (1759; with John Hoadly). The chapter begins by broadening the archive of the genre’s source material, situating its eighteenth-century repertoire alongside the true crime narratives it in many cases adapted, as well as early Stuart predecessors, Shakespeare’s Othello (1603), and Restoration she-tragedy. It thereby claims that the genre represents important advances in realism as it was practiced onstage that worked to exploit the intimacy of the home and stage during the period. This chapter also examines a major theme in contemporaneous theorizations of the genre by considering what it means for a play to “strike close to home,” linking that trope to changes in affect, aesthetics, and performance during the period.

scholarly journals Dancing in the 'Contact Zone'

2006 ◽  
Vol 3 (2) ◽  
Author(s):  
Monica Wulff
Keyword(s):  
Contact Zone ◽  
The West ◽  
Cultural Encounters ◽  
Performance Space ◽  
Arts Festival ◽  
And Performance ◽  
Complex Relationships ◽  
Multicultural Arts ◽  
Embodied Practice

In October 2002 I performed and exhibited Troppo Obscura: A Peepshow of Historical Perversity at the Performance Space as part of the multicultural Arts festival, Carnivale, in Sydney, Australia. Troppo Obscura is a multimedia installation that explores some aspects of the complex relationships between the West and Asia. The work looks at a large range of possibilities, from the colonial gaze through to personal relationships forged through artistic endeavor. This paper—the first of two extended mediations on the topic—focuses on one such personal relationship addressed in the installation, namely that between traditional master mask dancer Ibu Sawitri from Cirebon on the West coast of Java, Indonesia and myself, a Sydney based contemporary dancer and performance artist. Between 1992 and 1999, the year Ibu Sawitri passed away, I spent many long-term visits learning dance and living in Ibu Sawitri’s house in Losari. This essay focuses on Ibu Sawitri’s family and dance background and how she, the younger generation of dancers, the dance context, and the dance itself, have been transformed over time as a result of rapidly changing socio-historical conditions. In the second half of this paper I move the discussion to the broader issues of cross-cultural encounters in what Pratt terms the ‘contact zone’ (1992). This includes looking at dance as an embodied practice and its function in the ‘contact zone’ as well as dealing with Spivak’s debates about the subaltern voice in reference to my telling of Ibu Sawitri’s story, both in the installation and in text. A closer analysis of the dynamics of my dance with Ibu Sawitri in the ‘contact zone’ is addressed here.

SCORES IN BLOOM: SOME RECENT ORALLY TRANSMITTED EXPERIMENTAL MUSIC

Tempo ◽  
2020 ◽  
Vol 74 (293) ◽  
pp. 54-69
Author(s):  
Luke Nickel
Keyword(s):  
Small Group ◽  
Experimental Music ◽  
Extended Time ◽  
Note Taking ◽  
Collaborative Practices ◽  
The Creation ◽  
And Performance ◽  
Shed Light

AbstractA small group of composers and performers are collaborating orally/aurally on the creation of experimental music that eschews written scores (‘living scores’). By charting the overlaps between working methods and relationships – both social and musical – this article endeavours to shed light on how these practices rub against standard modes of documentation, transmission, scholarship and performance. The article begins by mapping out of the orally transmitted collaborative practices of four composers – Cassandra Miller, Pascale Criton, Éliane Radigue and me – as documented through interviews with prominent performer-collaborators such as Deborah Walker, Silvia Tarozzi, Juliet Fraser and Cat Hope. A guiding metaphor frames these practices as gardens and highlights shared thematic concepts such as extended time, hospitality, note-taking and responsibility.

Main results of the DAMPE space detector after 4 years in orbit

2020 ◽  
Vol 35 (36) ◽  
pp. 2044024
Author(s):  
Piergiorgio Fusco
Keyword(s):  
Gamma Rays ◽  
High Performance ◽  
Angular Resolution ◽  
Dark Matter Particle ◽  
Electromagnetic Calorimeter ◽  
Performance Space ◽  
Scientific Institutions ◽  
Chinese Academy Of Sciences ◽  
And Performance ◽  
Academy Of Sciences

The DArk Matter Particle Explorer (DAMPE) is a high-performance space particle detector launched in orbit in 2015 by a collaboration of Chinese, Italian and Swiss scientific institutions, coordinated by the Chinese Academy of Sciences. It consists of a high-resolution segmented BGO electromagnetic calorimeter with a depth of 32 radiation lengths, a silicon-tungsten tracker-converter with an angular resolution below [Formula: see text], an anti-coincidence shield and ion detector, and a neutron detector. The detector characteristics and performance, and the latest observations of cosmic electrons up to 5 TeV, protons and nuclei up to 100 TeV and gamma-rays up to 10 TeV are presented.

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