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Citational Poetics in Dance: … of a faun (fragments) by the Albrecht Knust Quartet, before and after 2000

Published online by Cambridge University Press:  29 August 2012

Isabelle Launay
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Extract

How does one come to terms with the “already said” or the “already danced”? I ask this in light of the many instances where contemporary dance has insistently undertaken—as a condition of its own renewal—a critique of past works that have been transmitted through the oral tradition. This undoing of the oral tradition's dominance has instantiated a new relation to the past in contemporary dance. Hannah Arendt throws some light on this process when she quotes Walter Benjamin, for whom modernity required that we find a different way of connecting with the past—one that would replace transmission with citationality. To cite, in speech act theory, as in dance, presupposes that the authority of the past be replaced with that disquieting ability of the past to infiltrate the present in a disembodied way (Arendt 1974, 291). The challenge of citation to the prestige of oral person-to-person transmission of a dance has introduced a new way for contemporary artists to relate to and re-embody past works.

Type
Articles
Information
Dance Research Journal , Volume 44 , Issue 2 , Winter 2012 , pp. 49 - 69
Copyright
Copyright © Congress on Research in Dance 2012

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