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[012] [162] [186] [201] [204]


2015, 20
1930
19902000-
2010

. 20





418



N77-1621 28.01.2000
ISBN 0131-6885
:
107031, ,
, 10, . 38
.: (495) 6502827, 650 95 22
e-mail: info@oteatre.info
teatr.moscow@gmail.com
www.oteatre.info


13150

.


.

002

summary

TEXTS

012 Olga Gerdt


Contemporary Dance:
the History
of Three Deaths
The history of the 20th centurys
contemporary dance is the history
of three deaths: the body, the dance
and the author. THEATRE tells about
the reasons and after-effects of their
deaths.
038 Irina Sirotkina
Isadora Duncan:
One Hundred and Ten
Years of Free Dance
THEATRE undertakes to find out
what the famous dancer meant by
authenticity and how it afterwards
resounded in the Russian dance.
048 Anna Gordeyeva
Sidestepping
Equals Flight
The modern dance history in Russia
is very brief yet. THEATRE recalls
how it began.
054 Yekaterina Vasenina
The History
of Babushka Doll
Why did the modern Russian
dance seek identity in the folklore
tradition but in the end favored
technical perfection and adherence
to the European standards.

. 20

062 Yelena Kovalskaya


SHOPFLOOR Sounds
Industrial
SHOPFLOOR was created by
choreographer Sasha Pepelyayev
and producer Yelena Tupyseva
in the Noughties. For fifteen years
it has been combining various trends
of modern dance. But Pepelyayev
lives predominantly in Estonia while
Tupyseva heads Ballet Moscow.
THEATRE asked them about
the present-day status and
perspectives of modern dance
in Russia.

070 Vita Khlopova


20th Century
American Dance:
Why Did Terpsichore
Put On Sneakers?
Two features of the 20th century
American dance modernism
and post-modernism brought
about complete transformation
of the world choreography.
THEATRE undertook to find
out how modernism and postmodernism effected changes
in other art forms.
084 Anna Ildatova
Yvonne Rainer:
A Dancers View
In 1970 the famous ambassadress
of American post-modernism
basically quit dance. By that time
she had made five non-fiction
one-reelers. THEATRE tries
to find out why Rainer preferred
film to dance and how her
filmography exposes and explains
her choreographic motifs.
088 Sergei Konayev
The Record
of Body and the Body
of Record
In classical ballet concentrated
on self-preservation the role of the
choreographic notation is simple
and clear, but THEATRE was
interested in tracing the adventures
of notation in non-ballet
100 Dina Goder
Israeli
Contemporary
Dance: Dancing
in Bus Station
How did contemporary dance
come about in Israel?
THEATRE posed this question
to choreographers, dancers,
a director, a journalist,
a manager and a pedagogue.
Their answers took shape
of a discussion of not so much
about dance as about freedom,
communication, corporality
and the nature of the national
character.

003

summary

110 Nika Parkhomovskaya,


Inna Rozova
Carmen from Opera
to Contemporary Dance
THEATRE looked into the evolution
of the dance language as exemplified
by the popular story that inspired
such choreographers as Marius
Petipa, Kasyan Goleizovsky,
Roland Petit, Mats Ek,
Mathew Bourne and Ji Kylin.
120 Sonya Levin
Yang and Yin
in Modern Dance
THEATRE undertakes to find
out how and where the ideology
of the queer community crosses
paths with the basic postulates
of contemporary dance.
128 Evgeny Borisenko
The Viewers Question:
the Subjectness
of the Viewer in
Contemporary Dance.
The contemporary dance possesses
a wide range of instruments
to conceptualize the position
of the audience. More often than
not the dancers destroy the fourth
wall and break into the space
of the viewers. But more interesting
are the incidents when viewers
themselves become subjects
of performance.
136 Evgeny Borisenko
The Body
of Contemporary
Dance
What kind of body best suites
the choreographers? What kind
of body can become a medium between
the viewer frozen in anticipation
and the choreographer hiding behind
the scenes? Are there bodies that
one would feel awkward to show
on stage? THEATRE analyzes
the methods of representing
a body in contemporary dance.

. 20

144 Marat Zakirov


Mathild Monnier
and Mette Ingvartsen:
Joint Experience
of Fragility
Of all the forms of art contemporary
dance is the boldest in stepping into
the territory of contemporary art.
It does it so boldly that the border
between theatre artists and theatre
objects all too often becomes
completely washed out.
152 Maya Pramatorova
The Non-Choreographer
With Ivo Dimchev contemporary
dance especially boldly invaded
the space of the performance art.
THEATRE asked Dimchev to explain
the difference between choreographer
and performer if there is any.
Manifestos
of Contemporary Dance

Contemporary Dance
Glossary

Yellow Pages

201 Best schools


of contemporary dance
204 Best contemporary
dance festivals
207 Recommended reading
on contemporary dance

. 20

2015

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012 contemporary dance:




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148 

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186 

201 yellow pages

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110 :
contemporary dance
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. 20

1982
Thisis theatre like it was to be
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029

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, 1985



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2005

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Fifty Contemporary 
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Terpsichore in Sneakers:
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McCormick, Malcolm. (2003)
No Fixed Points: Dance
inthe Twentieth Century.
Yale University Press.

Banes, Sally, (1993)


Greenwich Village 1963:
Avant-Garde Performance
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Duke University Press.
Banes, Sally, (2003)
Reinventing Dance in the
1960s: Everything Was
Possible. University
of Wisconsin Press.

Banes, Sally (1993)


Democracys Body: 
Judson Dance Theater,
19621964. Duke
University press.
Burt, Ramsay (2006)
Judson Dance Theater:
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103

contemporary dance:




Gut gift,

, 2003

Lie like a lion


, 2014

.
contemporary dance.

: , 15
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. 
,
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Kibbutz Contemporary
Dance Company ,
,
Sknes Dansteater.
Climax 
, 2015
. 20

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104


The Sway of Her
Hips,

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Dansteater, Malmo,
2014


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2014

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2010

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Dance Company,
2011

Wallflower, 
Inbal Pinto &
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Dance Company,
2014
. 20

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contemporary dance:

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110
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111

: contemporary dance


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: contemporary dance


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115

: contemporary dance

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119

: contemporary dance

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Car Men, 

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Nederlands Dans
Theater
, 2006

. 20

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. 20

2015

120




. ,

-

contemporary dance

121



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I put a spell on you,




, 2007

. 20

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196070 -

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.
queer
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123



Paris Is Burning

, 1990



Paris Is Burning

, 1990


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. 20


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(Neverland),
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124

. 1991

Paris is Burning (
).

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125

ultimawez,
,
.

.
blush

What the Body 


Does Not Remember
,
1987



(Blush),
2005
. 20

.
What the
Body Does Not Remember (1987.)

. 2013, 25 ,

,
. .

, ,


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,
,

.
UltimaWez,
,
(
).

. ,
.

126

Lili Handel 
, 2004

Blush.
,
, , :
Wim Vandekeybus is like a celtic
tattoo (
).

,
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Lili Handel
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,
, , . -

127

Age & Beauty 


Part 1: Mid-Career
Artist/Suicide Note
or &: /,
, 2014

Death asshole 
rave video
, 2014


; 90


-; 

,
,
.
,

.

-,


.
. 20

,
,

-
,

contemporary dance.


-,
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:
;
90


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,
queer,
?.[01] .
[01] As a description of a kind of art,
discourse, and political/cultural
position, the word queer is really
having its moment. It can mean identity
or strategy. In my own history
I have witnessed the evolution of this
word as a slur to its reclamation
as an intersectional identity by queer
activist groups in the early 90s to its
incorporation into academic discipline
to its current resurgence with young
artists who self-identify as queer
performance makers. What does
it mean in relationship to performance?
If we are thinking about variance
or alternative means of communication,
isnt dance always queer?

. 20

2015

128
.






 



.
,
,

. ,

129


, 
!,

-,
2008

. 20

Un peu de
tendresse, bordel de merde!
( ,
!, 2008)
-
Sadlers
Wells
.


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,






,
, .
Pindorama (2013)

,
, , .
,

.

,

,


,
,
.

,

130


,
, 
,
. 

Pindorama,

, 2013

(M)imosa, 


, 2010
. 20


,


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,
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,
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131

,
, ,
.
.

Vader (Father),

Peeping Tom, 2014

Vader (Father),

Peeping Tom, 2014

A Louer,
Peeping Tom, 2011

. 20


, .

(M)imosa (2010)

,


.


. , ,

.

,
,

, .

132




,



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Rimini Protokoll:

mp3,

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Peeping Tom
.

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Peeping Tom
.
A Louer (2011)


,
. Vader (2014)
,
.
,

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,
, .

,
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,


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, ,

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.

,


,
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Ji Kylin
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,
.

172

,

(). 1968




,

1975. 1975


(NDT). 1977



. 1978

(, ,
) .
1978
NDT II,
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1991 NDT III,
, ,
,

NDTI.
,
,
.
NDT-III 2006.
-

.
1999

NDT,
-
2009. 20


35 (1995)


.
: Benois
dela dance (1998),

(2000),
(2000),

(2008).


:
( , 1978), (
, 1980),
( , 1981),
( ,
1982), ( ,
1983),
( , 1984).
1980 .

-
:
( , 1986),
( , 1988),
( , 1989),
(
, 1990),
( , 1990),
( , 1991),
( , , ,
, 1994).




Kibbutz Contemporary
Dance Company KCDC

.
1973.
().

,
,

1948.



.
80 . 1996
,


.
1980

. KCDC

International Dance Village,

(5 10 ).

.


,
contemporary dance.

--
La La La Human Steps
,
1981

.



,
barrel jump .


.


,
Benot Lachambre
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,
,
-.
1978 1980

- .
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parbleu
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173


.
, .




.
, ,

, , ,
.

(
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(,
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.


Damaged Goods
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, Moving Pictures Award
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,
Louise Lecavalier
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(). .
-,
17


La La La Human Steps,

.


,

,


.
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(Businessman
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La La La
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,
,
.
, , ,

(

).

,



,
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Fou glorieux.
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,
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.

.

,
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,
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, ,
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2000.


.
Self Unfinished
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. 2006

40 ,

.


/ , ,

,


.
,


.
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,


,
.
,

: ,

? 2007
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Bocanada
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,

-.
,
(
),
,
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(High School of
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,
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,

.
.

:

,
Wayne McGregor
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,


.
()
(-). 22
-
The Place,
Random Dance,
Sadlers
Wells.


(
,
)
. ,
16
,

, 53
,


. 2000
-
.


.
2006

contemporary dance

-.





.

.
-

( ,

,

,
,
New York City Ballet).

,
( ,
, ). , ,
:
,


.
site-specific,

, , , .
80 ,
,

,
3D-, , .


, ,



, ,
.



,

2020.
( ,
).

: 2 Human
( ), Qualia

175

( Scanner),
(
Godspeed You! Black
Emperor),
( ), (
), Yantra
( -
), Genus
( ),

( ,
- ),
( ), 1929
(
,
),
( ),
Chroma (

,
),
(
,
),
( ),
(
),
( A Winged
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( ).

,
Constanza Macras
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.
,
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-, Movement Research,
,
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.
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,
.
1997
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2003
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.
C1998 2000,
Tamagotchi
Y2K,
4: Wild Switzerland
(1998), Face One (1999),
In Between (2000) Dolce
Vita (2000). 2001
2002

MIR A Love Story.
2003 Pornosotros LesBallets
C de la B
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(Schaubhne am
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. 2004

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,
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,
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,

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5 70.

,
Mathilde Monnier
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ex.e.r.ce.
,


.
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(2015 ).
2013


.
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.


, ,
,

,
.
,

,
, - ,
,

.

,

.


(Clair Denis),

(2004)

:
, ,


.



, ,

, .


,


,

-,
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:
(1992),

(1995,
),
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),
?
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,
Mark Morris
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.
16
. 1976
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Koleda Balkan.
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Mark Morris
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150 .

-,

. 1986

Dance in America. 1988
1991 ,



:



.
1990

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.

: -
,

, -.
-

(-,
- ,

,
-).
2006
, 2013
Ojai Music Festival
(, ).
,

,
, -.

.

,

,
.

:
( ),

(
),
(
),

(

),

( 250
),
(
).


(

)
;

2010.

,
Ohad Naharin
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(). ,
.

, , ,
. ,
, ,
.


, ,
,

-.
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,
.
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,

.
.

,
.
, .
, NDT,
,
, -, , ,
,
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.

.

177

.
,


.

,
.

.
The New York Times


.
.


,
Lloyd Newson
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(
, ). , , ,
, , .



.



. 19811985

(Extemporary Dance
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,

,

.

,
( ),

.
2014 ,

.
, ,
, -

, , .
,
,
,
,
.
Can
We Talk About This,

,

.


,
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(Three Ballets
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,
,
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,


,
.


, .
,

,
,

.
:
,
,
,
.

,
Steve Paxton
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, ,
c
.


.
.
.

,
,
. Judson Dance Theater
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Magnesium,
.
Contact Quarterly,


.
. 

Contemporary dance:



:
.
,
Dimitris Papaioannou
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, .



2004
.

19.
40 .



, ,
, . 1986
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La Mama
ETC.

Magic Bullets
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Edafos (1986
2002), 17
.
(1993)

,
Human
Thirst (1999) For ever
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. 2

2006.


Nowhere,
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2010. -
..,

13
,
.
2011

Inside.
2012


(Primal Matter),

.

,
Alain Platel
1956
(). ,
Les ballets C de la B
(Ballets contemporains de la
Belgique).
1969 1973

.
.


. 28

-

, .
,

,
.
,
, ,
,
,
.
, ,
. ,
: ,
,
,

.

(
),

.

, ,
.
,


.

:

.

Les Ballets C
de la B.


1990,
,
,
, ,
,
(Bonjour
Madame, comment allezvous aujourdhui, il fait beau,
il va sans doute pleuvoir,
etcetera).
:

,

, .


, .


: Because I sing (2001),
Ramallah! Ramallah!
Ramallah! (2005), Les
ballets de ci de l (2006),
Vsprs Show and Tell
(2007).
:
Emma (1988),
(La Tristeza
Complice, 1995),

(Iets op Bach, 1998).

( )
:
(Moeder en kind, 1995),

(Bernadetje, 1996),
(Tous des
Indiens, 1999).
,
.
2003

(Wolf). Vsprs,
(Gardenia, 2010),

(Out of Context
for Pina, 2010),
tauberbach (2013).

,
Angelin Preljoaj
1957 -- ()
.
.

,
, ,

.

(1980) .

179

,

(
). 1982

. 1984

.


1985 XVII

.

-
(1985)

(1986). 1987
.

. 1994


.


.
XX
(, , ),
.

,
.

(.
, 1991),

( , 1992,
, 2003).
-

(2003),

(1992),
(1993).
:
Grand Prix National de la
Danse (1992), Benois de la
danse (1995), Bessie Award
(1997), Les Victoires de la

musique (1997), Globe de


Cristal (2009).
2010


. Creation 2010.
2006

Pavillon
Noir --.


,
Yvonne Rainer
1934
- ().
, ,
,
,

.
,
,
.


. 1957
-,

. .
,

,
,
,

(1962)
Judson Dance
Theater. 1960 .
2000


The WhiteOak.
.

:



: .

,
Karine Saporta
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. ,
, ,
,

.

,


X (-) .
19882003

.
-

(1991).
,
,
.



.
1990
,

,

(
, 1994).


,


(
).


,

Dansoir
().
:
Judith (1980), Hypnotic
Circus (1983), La poudre
des anges (1990), Carmen
(1991), Bolcho destroy
(1997), (A ma mre) La
Fiance aux yeux de bois
(1998), Une rose a circle

180

of kisses ( , 1999), Belle,


au bois dormant (2000),
Magic dancing (2003),
Apropos dAndre Roublev
(2003), Lettres un ami
dAfrique (2005), Albane
(ou) les yeux mauves (2007),
A comme Alice (2008),
LaMaison Chri-Chrie
(2009), Jukebox (2010).
, .

,
Mrten Spngberg
1968
().
, ,
, ,
,
, , .

,

.


.



,
.
.

1994.

,

.


.
2000
.
,

La Substance,
but in English (2014),
MoMA
PS1.
, (Xavier Le Roy),

(Chris
tine De Smedt/Les Ballets C
de la B), (Tino
Sehgal) (Jan
Ritsema).
(Tor Lindstrand) ,



. 1996
: Panacea
Festivals Stockholm (1996
2005), BodyCurrency/
Wiener Festwochen (1998),
CAPITALS Gulbenkian
Foundation Lisbon (2002
2003), International Summer
Academy Frankfurt (2002
2004), Choreography As
Expanded Practice (2012,
Tpies Foundation
MacBA). -
INPEX (2006). ,

.
, ,
.
20082012
.

,
Meg Stuart
1965
().
.
,
,
. -
.
Movement
Research,

-.

-
.

1980 (Nina Martin),


(Lisa Kraus),
(Federico
Restrepo)
(Marcus Stern).
1986
Randy Warshaw
Dance Company
.
1991

Disfigure Study,
Klapstuk
(, ). 1994


Damaged
Goods . 2000
2004


.
2005 2010

,
, .
C2010

Kammerspiele.

Intimate Strangers,
,
.

2006,
2008,
2011.


,

.

,
Dokumenta
X Manifesta 7.


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,
.
Violet, 2011,

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181

. .
,
,

. ,

,

,
. <>


,
, ,

,

,

.


Kaai
HAU
.

Mobil Pegasus
1994, The Culture Award
of the Catholic University
2000, The French Prize
of Criticism
Bessie Awards 2008.


,
Mark Tompkins
1954
.
.


, 1973
,

.
1975

.
1983 IDA
(International Dreams
Association).

,
,
,
, .

.
-,
-, ,
.
2014
Stardust
Queer New York Interna
tional Arts Festival.

: Naked Traces
(1976), Each Ones Own
(1978), Sweet Dreams
(1981), Empty Holes
(1983), Betrayal (19851987), Nouvelles for the
Avignon Festival, based on
the novel Ida by G.Stein
(1988), Witness (Hommage
Harry Sheppard) (1992),
Gravity (1996), Under
My Skin (1996), Hommage
Josephine Baker (1998),
Tributes to Montrose
Capital (2000), Remi
Xamor (2005), Animal
Male, Animal Female
(2007), BlackNBlues
Canaccord (2011). 2008
SEC SACD
(Society of Dramatic Authors
and Composers) .


,
Jan Fabre
1958
().
, ,
, ,
, ,
.


- ,

.


.
.
, , . 1986
Troubleyn
. 1982


,
. 1984

,
. 2009
NET
.
C.

Mount Olympus:

Contemporary
dance:

,
William Forsythe
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, ,
.


.
.
Joffrey Ballet
School -,

.

1971. 1973

,



(1976).
France/Dance
(1983)



, (Steptext)

182

Aterballetto (1985),
In the Middle Somewhat
Elevated


(1987).
1984

,

, Artifact
(1984), Impressing theCzar
(1988), Limbs Theorem
(1990), The Loss of Small
Detail (1991,


), A L I E/N A
(C) TION (1992), Eidos:
Telos (1995), Endless
House (1999), Kammer/
Kammer (2000), Decrea
tion (2003). C
New York City Ballet
(Behind the China Dogs,
1988 Herman Schmer
man. 1, 1992),

(Firstext, 1995),
(Say Bye-Bye, 1980,
Mental Model, 1983,
Marion, Marion
(NDT III), Four Point
Counter, 1995),
(Square Deal,
1983),
(The second
detail, 1981).

2004

Forsythe Company,

,
,
.


:
,
, -,
New York City Ballet,
-

.



,
- ARTANGEL

() Creative Time
(-), .

,

(-), ,
21_21
Design Sight. Impro
visation Technologies: A Tool
for the Analytical Dance Eye
( : ),
1994


(, ),


,
, , . 2009

-
Synchronous Objects for
One Flat Thing (
),

.
.

,
Bessie
Awards (-, 1988,
1998, 2004 2007)
(,
1992, 1999 2009).
1999



.


(1997),

(2010),
ADF
(2012).

. 

Contemporary dance:
.

,
Akram Khan
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contemporary dance.
,
(

)
.

13
.

.


,


. 1990,
X-Group
,
,


.
2000 . 15

.


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,
.

,
,
,
,

183

.
2012

.

:
-, .
,
,
.


,
.

,

Mercury Award, ,


, ,

.

: ?
( ),
( ),

(
,
), In-I (
),
( )
DESH ( ),
iTMOi ( ,
),
(
,
, ).

,
Trajal Harrell
1968 ,
(). .

,
,
,
-,
Movement
Research -.
,
-

.

,
Twenty Looks
orParis is Burning at The
Judson Church,
-.
, ,


,
1960 , ,
, .
2001 ,

,


.
.




:

.

,
Lucinda Childs
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-. ,
, ,
.
19631969
Judson Dance
Theater
,

.

, ,
,
.

, ,
. ,
(1964)



,
,
, . 1973
c
50
, ,

. ,


,
-
.
(1979) (1983) ,
, :

.
1976




,

.
,

,
,
.
1980


,
.

:

,
,
,
, .
1981
30
,
,
-

184

White Oak Dance


Company .
16 ,
.


,
Boris Charmatz
1973
().
,

-.
1989
, ,
.

,
, .
1992


Edna. 1993

bras le corps,

.

-



.
.
2009,

,
. 2014


Foreign Affairs:

: Haus der
Berliner Festspiele, St. Agnes,
Martin-Gropius, Kunstsaele Berlin


-
-.
,


.
2011

(Artiste Associ)
.
Manger,


,


,
, .
,
, , 14
,
4
(, , ).
.
,

.
(,
).

,
,
,
.
, ,


. ,
, ,

.

,
Sidi-Larbi-Cherkaoui
1976
().
.

.
,


. ,
-

the Bang Gang Dance
Company.
P.A.R.T.S,
. 1995

.
1998

Iets
op Bach Les
Ballets C de la B.

. 2010

Eastman.


,

.




.
,


.
-

,

,
.
The Fringe First
Award (1999),

Movement Awards
, (2000),
(2002).


185

,
Mats Ek
1945
().
,
.
,
, ,

,
.


,
.
:
19661973



.
27

.
1973

( ),
19741975
().
1976
( ),

.
. 1980
1981


, 1980
1984
,
19851993

.
1982

,

(
-

,
, ,
).
1993


(
, ,

, , -,
,
-,
,
,
).
,

,





. 2007


.

,
.

,

.

,
.



,
(
,

)
(
).

(
) (
).
:
( , -

, ,
),
(
),
( ),
(
),
(
),
( ),
(


2013),
( ),
(
), Ickea (
).

. 20

2015

186 


prforming arts

,

.
.


,

1965,
2011.

187

Yvonne Rainer
No Manifesto. 1965

No to spectacle
No to virtuosity
No to transformations and magic
and make believe
No to the glamour and transcendence
of the star image
No to the heroic
No to the anti-heroic
No to trash imagery
No to involvement of performer orspectator.
No to style
No to camp
No to seduction of spectator by the wiles
of the performer
No to eccentricity
No to moving or being moved
Yvonne Rainer
A Manifesto Reconsidered. 2008

Avoid if at all possible


Acceptable in limited quantity
Magic is out; the other two are
sometimes tolerable
Acceptable only as quotation
Dancers are ipso facto heroic
Dont agree with that one
Dont understand that one
Spectators: stay in your seats
Style is unavoidable
A little goes a long way
Unavoidable
If you mean unpredictable,
thats the name of the game
Unavoidable
. 20


. 1965









[]

. 2008

,


ipso facto


,



,

[]
[]
[]

188

Merce Cunningham
Space, Time and Dance. 1952


,
. 1952

The dance is an art in space and time.


The object of the dancer is to obliterate that.


.
.

The classical ballet, by maintaining


the imageof the Renaissance perspective
in stage thought, kept a linear form of space.
Themodern American dance, stemming
fromGerman expressionism and the personal
feelings of the various American pioneers,
made space into a series of lumps, or often
just static hills on the stage with actually no
relation to the larger space of the stage area,
but simply forms that by their connection in
time made a shape. Some of the space-thought
coming from the German dance opened the
space out, and left a momentary dealing
of connection with it, but too often the space
was not visual enough because the physical
action was all of lightness, like sky without
earth, or heaven without hell.

,
,

.
,

,

,
,

,
, ,
.
,
,

,

,

,
.

The fortunate thing in dancing is that space


and time cannot be disconnected, and
everyone can see and understand that. A body
still is taking up just as much space and time
as a body moving. The result is that neither
the one nor the other-moving or being still-is
more or less important, except its nice to see
a dancer moving. But the moving becomes
more clear if the space and time around
the moving are one of its opposite-stillness.
Aside from the personal skill and clarity
of the individual dancer, there are certain
things that make clear to a spectator what
the dancer is doing. In the ballet the various
steps that lead to the larger movements or
poses have, by usage and by their momentum,
. 20

,

, .

,
.
,

,
.
,

.

,
,

. , ,


,

. ,
.

189

become common ground upon which the


spectator can lead his eyes and his feelings
into the resulting action. This also helps
define the rhythm, in fact more often than
not does define it. In the modern dance,
the tendency or the wish has been to get rid of
these unnecessary and balletic movements,
at the same time wanting the same result
in the size and vigor of the movement as the
balletic action, and this has often left the
dancer and the spectator slightly short.
To quibble with that on the other side: one
of the best discoveries the modern dance
has made use of is the gravity of the body
in weight, that is, as opposite from denying
(and thus affirming) gravity by ascent into
the air, the weight of the body in going with
gravity, down. The word heavy connotes
something incorrect, since what is meant
is not the heaviness of a bag of cement falling,
although weve all been spectators of that too,
but the heaviness of a living body falling with
full intent of eventual rise. This is not a fetish
or a use of heaviness as an accent against
a predominately light quality, but a thing in
itself. By its nature this kind of moving would
make the space seem a series of unconnected
spots, along with the lack of clear-connecting
movements in the modern dance.
A prevalent feeling among many painters that
lets them make a space in which anything
can happen is a feeling dancers may have too.
Imitating the way nature makes a space
andputs lots of things in it, heavy and light,
little and big, all unrelated, yet each affecting
allthe others. About the formal methods
ofchoreography-some due to the conviction
that a communication of one order or another
is necessary; others to the feeling that mind
follows heart, that is, form follows content;
. 20



.

,

.

:
, .

(, )
,

.
,
, ,
,

.
,

,
.


,

.
,
,
,
.
,

,
, , ,
.

,
, XIX
, ,
,

,
,
,
,
,
,
. , ,

:

190

some due to the feeling that the musical form


is the most logical to follow-the most curious
to me is the general feeling in the modern
dance that nineteenth-century forms
stemming from earlier pre-classical forms
are the only formal actions advisable,
or even possible to take. This seems a flat
contradiction of the modern dance-agreeing
with the thought of discovering new
or allegedly new movement for contemporary
reasons, the using of psychology as
a tremendous elastic basis for content,
and wishing to be expressive of the times
(although how can one be expressive
of anything else) but not feeling the need
for a different basis upon which to put this
expression, in fact being mainly content
to indicate that either the old forms are good
enough, or further that the old forms are
the only possible forms. These consist mainly
of theme and variation, and associated
devices-repetition, inversion, development,
and manipulation. There is also a tendency
to imply a crisis to which one goes and then
in some way retreats from.
Now I cant see that crisis any longer means
a climax, unless we are willing to grant that
every breath of wind has a climax (which
I am), but then that obliterates climax, being
a surfeit of such. And since our lives, both
by nature by the newspapers, are so full
of crisis that one is no longer aware of it,
then it is clear that life goes on regardless,
and further that each thing can be and
is separate from each other, viz: the continuity
of the newspaper headlines. Climax is for
those who are swept by New Years Eve.
More freeing into space that the theme
and manipulation holdup would be formal
structure based on time. Now time can be
. 20


,
,
,
,
( ,
)

. ,
,


.

, ,
.

,

.
,

,

()

.

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191

an awful lot of bother with the ordinary


pinchpenny counting that has to go on with it,
but if one can think of the structure as
a space of time in which anything can happen
in any sequence of movement event, and any
length of stillness can take the place, then the
counting is an aid towards freedom, rather
than a discipline towards mechanization.
A use of time-structure also frees the music
into space, making the connection between
the dance and the music one of individual
autonomy connected at structural points.
The result is the dance is free to act as it
chooses, as is the music. The music doesnt
have to work itself to death to underline
the dance, or the dance create havoc
in trying to be as flashy as the music.
For me, it seems enough that dancing is
a spiritual exercise in physical form, and that
what is seen, is what it is. And I do not believe
it is possible to be too simple. What the
dancer does is the most realistic of all possible
things, and to pretend that a man standing
on a hill could be doing everything except just
standing is simple divorce-divorce from life,
from the sun coming up and going down, from
clouds in front of the sun, from the rain that
comes from the clouds and sends you into the
drugstore for a cup of coffee, from each thing
that succeeds each thing. Dancing is a visible
action of life.
Trisha Brown
Locus. 1975

Pure Movement is a movement that has


no other connotations. It is not functional
or pantomimic. Mechanical body actions
. 20


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. 1975

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192

like bending, straightening or rotating


would qualify as pure movement providing
the context was neutral. I use pure
movement a kind of breakdown of the bodys
capabilities. I also use quirky, personal
gestures, things that have specific
meaning to me, but probably appear
abstract to others. I may perform
an everyday gesture so that the audience
does not know whether I have stopped
dancing or not and carrying that irony
further, I seek to disrupt their expectations
by setting up an action to travel left and
then cut right as the last moment unless
I imagine they have caught onto me,
in which case I might stand still.
I make plays on movement like rhyming
or echoing an earlier gesture in another
part of the body at a later time and perhaps
out of kilter.
I turn phrases upside down, reverse them,
or suggest an action and then not complete it,
or else overstate it all together. I make
radical changes in a mundane way.
I use weight, balance, momentum,
and physical actions like falling and
pushing. I say things to my company
like Toss your knees over there or Start
the phrase and then on the second count
start it over again, or Do it and get off it.
I put all these movements together without
transitions. I do not promote the next
movement with a preceding transition
and therefore, I do not build up to something.
If I do build up, I might end it with another
build up. I often return to a neutral standing
position between moves; it is for me a way
of measuring where I have been and where
I am going.

. 20



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193

Mette Ingvartsen
Yes Manifesto. 2005


.
2005

Yes to redefining virtuosity


Yes to conceptualizing experience, affects,
sensation
Yes to materiality/body practice
Yes to investment of performer and spectator
Yes to expression
Yes to excess
Yes to invention (however impossible)
Yes to un-naming, decoding and recoding
expression
Yes to non-recognition, non-resemblance
Yes to non-sense/illogic
Yes to organizing principles rather
than fixed logic systems
Yes to moving the clear concept
behind the actual performance of
Yes to methodology and procedures
Yes to animation
Yes to style as a result of procedure
and specificity of a proposal.
Yes to complexity

 ,
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/


( )
-,

-, -
/
 ,



[]

Boris Charmatz
Manifeste pour un Centre
chorgraphique national. 2009

Je ne memporte pas, je propose simplement


denlever le mot centre, denlever le mot
chorgraphique, et denlever le mot
national! Le mot centre de Centre
chorgraphique national est le rsultat
dune formidable politique publique qui
a prouv que le centre pouvait tre pluriel
et se multiplier ailleurs que dans la capitale
de France. Et pour que cet lan demeure,
. 20



.
2009

,

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194

une autre mancipation doit snoncer


aujourdhui: la question du centre et du
dcentrement laisserait alors la place un
espace o cette problmatique ne subsisterait
que comme trace. La recherche du centre
Pour un danseur, le mot rsonne dabord
physiquement. Il ny a pas si longtemps,
on lui demandait systmatiquement, tout
au long de son entranement, de trouver son
centre. Mais aujourdhui, il est gnralement
admis que le corps na pas de centre, et cela
ne lui manque pas. Le corps de la modernit
na pas besoin de centre, car ce centre absent,
le noyau qui permettrait de se rassurer, nest
pas l, nest plus l. Car sur le vide dun corps
expropri de tout centre, il y a de la place
pour la danse. Cest pourquoi on peut aussi
gommer le mot chorgraphique, pour y
revenir autrement. Certes la danse comprend
une dimension proprement chorgraphique,
mais elle dborde aussi allgrement de ce
cadre. La danse est beaucoup plus large que
le chorgraphique: son territoire doit stendre
si lon veut voir souvrir lespace symbolique
trop ferm dans lequel elle se tient encore
dans notre socit. Lespace dun Centre
chorgraphique national doit balayer
bien au-del de ce qui relve du seul
chorgraphique. On devrait mme pouvoir
donner la direction dune telle institution un
danseur (et non aux seuls chor- graphes)!
Un danseur, cest la fois plus et moins quun
chorgraphe: cest quelquun qui travaille
sous la direction dautres chorgraphes,
qui soutient aussi plus que son propre travail,
et qui sait que son corps est travaill par
le travail de bien dautres, du corps de ses
parents, au corps de ses professeurs, au corps
social tout entier. Et sil est parfois linterprte
dune criture chorgraphique, un danseur
peut aussi tre nimporte qui, car nimporte
qui a, un jour, essay. Je propose de gommer
. 20

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195

chorgraphique parce quun Centre


chorgraphique national est bien plus quun
espace o un chorgraphe trouve les moyens
dpanouissement de son travail. Au-del
du soutien des compagnies de danse, il faut
penser aussi en dehors du cadre chorgrapheinterprte-compagnie, dgager une matire
symbolique plus riche Alors tout le monde,
les pratiquants, les croyants, les artistes,
les incroyants, les exclus du monde de lart,
ceux dont on pense tort quils en sont exclus,
les autres, tous les autres, qui ne savent pas
encore o les Centres chorgraphiques se
trouvent, pourraient y trouver de quoi activer
limaginaire. Ce qui fait danse doit toucher
aujourdhui bien au-del du cercle restreint
de ceux qui la structurent au quotidien,
et souvrir une dimension anthropologique
qui clate joyeusement les limites induites
par le domaine proprement chorgraphique.
Et alors le national ne suffit plus non plus.
Lespace mental dune action denvergure doit
tre au minimum locaglobalrgioeuropointer
nationabretotranscontinensud. Universel
et particulier. Aussi sur la faade, on pourrait
tout simplement crire: muse de la danse
Je propose donc de transformer un Centre
chorgraphique national en un Muse
de la danse. 2 Srieusement. Srieusement
et dans la joie. Je propose de fondre toutes
les missions dvolues un Centre
chorgraphique national et de les agiter
dans un cadre ancien et nouveau la fois,
un cadre drle et dsuet, poussireux
et excitant, un muse comme il nen existe
nulle part ailleurs. Je voudrais oprer une
transfiguration qui donne sens aux missions
qui se sont faonnes au cours de lhistoire de
cette institution. Toute lactivit du lieu serait
repense travers un prisme diffrent, un
prisme susceptible de rassembler en un seul
mouvement le patrimonial et le spectaculaire,
. 20

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196

la recherche et la cration, lducation et la


fte, louverture des artistes singuliers et le
dsir de faire oeuvre collective. Il me semble
que lintitul, Muse, Muse de la danse,
est mme dagir comme une porte grande
ouverte vers la culture et lart dune danse
dont nous ne ferons pas un sanctuaire.
Un nouveau projet de Centre chorgraphique
national ne peut aujourdhui se contenter
de dvelopper et complter les dispositifs
mis en place au fur et mesure de son
dveloppement. Si lon veut que le Centre
chorgraphique national de Rennes
et de Bretagne soit la matrice dune diffusion
de la danse infiniment plus largie et quil
sinscrive localement plus que jamais, quil
devienne un ple de stature internationale,
il me semble que sa politique globale doit tre
porte par un projet artistique qui donne
corps toute son action. La ville de Rennes et
la rgion Bretagne runissent les conditions
et lnergie ncessaires pour fabriquer un
vhicule symbolique qui transporte tout le
monde, les artistes, les publics, les amateurs,
les professionnels, les enseignants, les lves,
les spectateurs, les tudiants, les politiques,
les visiteurs, les touristes, les chercheurs,
les journalistes, les citoyens, tout le monde,
au-del du monde transport habituellement.
Et le dynamisme pour que ce vhicule
assume toutes les missions dvolues un
Centre chorgraphique en prenant une
direction radicale, nouvelle, inusite.
Il y a peu de muses de la danse. Trs peu
dans le monde. Il y a en France cent dix-huit
muses du sabot, mais pas un seul muse
de lesclavage. Je pense souvent cette
remarque entendue un jour la radio Il ny
a pas non plus de vritable muse de la danse
en France. La danse et ses acteurs se sont
souvent dfinis en opposition des arts dits
prennes, durables, statiques, dont le muse
. 20


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197

serait le lieu de prdilection. Mais si lon


veut aujourdhui ne plus occulter lespace
historique, la culture, le patrimoine
chorgraphique, fut-il le plus contemporain,
alors il est temps de regarder, de rendre
visibles et vivants les corps mouvants dune
culture qui reste largement inventer.
Et si lon veut que la cration chorgraphique
prenne bras-le-corps les nouvelles
circulations technologiques, et embrasse
vritablement lespace transmdiatique du
monde contemporain, alors il me semble que
sous lappellation de Muse, des artistes
vont pouvoir samuser et crer librement. Car
nous sommes une poque excitante o la
musographie souvre des modes de pense
et des technologies qui permettent dimaginer
tout autre chose quune exposition de traces,
de costumes dfrachis, de maquettes
de dcors et de rares photographies
de spectacles. Nous sommes un moment
de lhistoire o un muse peut tre vivant
et habit autant que lest un thtre, inclure
un espace virtuel, offrir un contact avec la
danse qui soit la fois pratique, esthtique et
spectaculaire Nous sommes un moment
de lhistoire o un muse nexclut aucunement
les mouvements prcaires, ni les mouvements
nomades, phmres, instantans. Nous
sommes un moment de lhistoire o le
muse peut changer ET lide que lon se fait
du muse ET lide que lon se fait de la
danse. Car il nest pas question de fabriquer
3 un muse mort, ce sera un muse vivant
de la danse. Les morts y auront leur place,
mais parmi les vivants. Il sera tenu par des
vivants, brandi bout de bras. Pour ce faire,
il est dabord ncessaire doublier limage dun
muse traditionnel, parce que notre espace
est dabord mental. La force dun muse de la
danse rside en grande partie dans le fait
quil nen existe pas encore. Quil na pas
. 20

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198

encore de lieu appropri, que lesprit du lieu


arrive avant le lieu, que tout est faire, et
que le quotidien de ce chantier permet toutes
les audaces, et tous les carts. En premier
lieu, un Muse peut avoir lieu tous les
samedis. (Un Centre chorgraphique national
se tient aussi comme on tient un cabaret,
un bal mont ou un dance floor. Ou encore
comme on tient un sige. On peut le tenir
contre vents et mares parce quune sorte
de foi vous anime.) Le Muse comprendrait
et inclurait le spectacle, car dans notre ide,
le muse contient le studio de danse, le th
tre, le bar, lcole, lexposition, la mdiathque.
Ce Muse en dplacement sera le cheval
de Troie dun largissement radical de la
production de danse dun CCN. Le chantier
collectif dun futur Muse de la danse vise
transformer une institution en un espace
symbolique proche de lpope: il faut
imaginer une politique de diffusion
provocante qui rponde la ncessit dlargir
radicalement le nombre de gens concerns.
Le Muse ne se contentera pas de programmer des vnements, mais sera une manire
de faire vivre un lieu, un public, une quipe,
et deviendra un endroit o lon peut aller,
comme dans un muse, sans connatre par
avance le programme du jour. Un drle dendroit pour la rencontre de latelier, du dancing,
du spectacle, de linitiation au sens le plus fort.

,

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Bruno Freire
Maybe Manifesto.
2011

, , ,
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. 2011

,
(
,
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Maybe our spit is spent in idle talk (or


maybe this is nothing but salivas waste).
Maybe to redefine virtuosity is already
virtuosity.
. 20

,
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,
.

199

Maybe the anti-spectacle will become,


in some measure, spectacular.
Maybe concepts move you across spaces,
even before you choose where to begin.
Maybe all bodies are already being
choreographed, even if you never think of it.
Maybe hero, maybe anti-hero, maybe
picaresque.
Maybe technique is indispensable.
Maybe to make is to think. Maybe to make
think. Maybe to think making.
Maybe the performer has no control
on the degree of a spectators involvement.
Maybe it is important for the performer
to think on his or her spectator.
Maybe they are caring, sensitive, disorderly,
confused, illogical, precise, materialists,
busybodies, complex, festive, clear, daring,
presumptuous, loving, excentric.
Maybe excess is incapacity to filter.
Maybe simplicity is incapacity to investigate
deeply.
Maybe we are not superficial, cause we love
penetration.
Maybe complexity.
Maybe no dance is universal.
Maybe this manifesto have pirated ideas
of others.
Maybe i am not the author cause maybe
every author is a network of authors
Maybe the economy will modify your dance.
Maybe your proposal does not have
a name yet.
Maybe everything will daily become
more flexible.
Maybe each day it is becoming more
difficult to make a decision.
Maybe yes, maybe no.

. 20

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[]

200

Mrten Spngberg
Spngbergianism. 2011

2011

Dancers, choreographers and all you others,


we have a job to do:
Stop working for your client, they dont
care they just want more money.
Evacuate your audience, and dont let
them in again until they are ready to kill
for it.
Fuck modesty and all other well-meaning
aspirations. If you dont consider your
mission an armed struggle, ready to
declare war, you are not needed.
Accept no interviews, agree to no essays
published in dance magazines or written
by dance scholars. To be published in a
dance magazine is a disaster, it means
your work is good.
Spend more time on producing press
images, rumors and attitude than
rehearsing and processing your next
piece. The project is you and your pieces
nothing more than an hors doevre.
Stop collaborating, and show too much
attitude! Hierarchy is the only way to
change the notion of success.
Sleep around, stop decency now!
Fuck enthusiasm its just another word for
priorities, moderate ideas and a balanced
psyche. Enthusiasm is another word for
shrinking in front of circumstances.
Enthusiasm is another word for
insecurity.
Practice being categorical. Be glam.
Execute your client. Be a fool.
Show No Mercy!

, ,
:

. 20


,
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. 20

2015

201 yellow pages






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***



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