Performing Temporality in Contemporary European Dance

Jonas Rutgeerts

Description

Performing Temporality in Contemporary European Dance: Unbecoming Rhythms develops a new framework to understand how temporality is performed in contemporary dance. It combines an in-depth analysis of the choreographic practices of Jonathan Burrows & Matteo Fargion, Ivana Müller, Mette Edvardsen and Mårten Spångberg with a close study of the philosophical work of Bergson, Deleuze and Bachelard.

In the field of dance and performance studies the notion of ‘unbecoming rhythms’ will stand out and spark the interest of a wide readership. Dance is still mostly associated with notions of flow and continuity. Dancers are supposed to create a continuous rhythm in which the different movements melt together. They should create the feeling of spontaneous renewal or becoming. Recently however, several choreographers have experimented with rhythms that create an experience of temporal unbecoming, a feeling of being stuck in time. This is the first book to develop an in-depth analysis of these rhythms and the unsettling temporal regimes they produce.

The book situates itself at the intersection of dance and philosophy. Its focus on temporality and its innovative methodological approach it will also prove to be an important contribution to the field, and will be a significant resource for students, scholars and practitioners.

Introduction 4

          Only Concepts? Dance and the conceptual 5

          Only live? Dance and the ephemeral 8

          Shaping time from within: rhythm and dance 10

          Going against the flow: rhythm in contemporary dance 12

          Dance-philosophy: an infinite conversation. 17

          Articulation of the chapters 19

 

2. Rhythm is life: rhythm in German Ausdruckstanz. 23

          The ‘doctrine of energy’ and the rise of fatigue. 24

          The birth of Körperkultur: Dalcroze’s Eurhythmics. 28

          Rhythm in the beginning of the twentieth century: Rudolf Bode and Rudolf Laban. 29

          Intermezzo: The evolution of the concept rhythm in Bergson’s oeuvre. 36

          Ausdruckstanz and Körperkultur: Mary Wigman’s ecstatic rhythms. 38

          Intermezzo: German Ausdruckstanz and the body politics during the Nazi era. 43

          Conclusion: Becoming rhythm, becoming life. 44

3. Dancing in the meantime: syncopation in the work of Jonathan Burrows and Matteo Fargion. 47

          On the fence: rhythm and milieu in Deleuze and Guattari’s Of the Refrain. 51

          Playing apart: rhythm and syncopation. 56

          Intermezzo: Transatlantic and the resistance of roots. 61

          Following the rhythm: the relation between rhythms and patterns. 64

          Conclusion: Syncopation’s trouble. 66

4. Still dance: hesitation in Ivana Müller’s While We Were Holding It Together 69

          Intermezzo: dance and movement, a modernist love affair 72

          Still-act: the tableau vivant 73

          Time as hesitation: Bergson and the suspension of time. 75

          Intermezzo: the still, or the cinematographic experience of modern times. 79

          The space of elsewhere: Bachelard’s poetic imagination. 82

          Intermezzo: imagination, intuition and the task of the artist 87

          Conclusion: What about tomorrow.. 90

5. Stumbling through time: repetition in the work of Mette Edvardsen. 93

          The logic of the phrase: repetition in Accumulation and Dance. 98

          Stumbling through language: repetition in Black and No title. 103

          Running Out of Time: Performing the Eternal Return. 107

          Intermezzo: The triple murder of the eternal return, or Deleuze thinks death. 112

          Conclusion: The amnesiac witness. 113

6. Dark Utopia, Or Sleeping Through Marten Spångberg’s Natten. 116

         Dancing with myself 118

         Spending the Natten together. 120

         Conclusion: Sushi or sashimi 123

7. Stealing time: Rhythmic operations in a society of control 125

 

Bibliography. 152

 

Sujets

• Philosophie
• Esthétique et philosophie de l'art
• Performing Arts
• PHILOSOPHY
• Philosophie et théologie
• Choreography
• General officer
• Aesthetics
• Gaston Bachelard
• Dance
• General
• Gilles Deleuze
• Henri Bergson

Informations

• Publié par: Intellect Books
• Date de parution: 06 février 2023
• Nombre de lectures: 0
• EAN13: 9781789387056
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Performing Temporality in Contemporary European Dance

Performing Temporality in Contemporary European Dance
Unbecoming Rhythms
Jonas Rutgeerts
First published in the UK in 2023 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2023 by
Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2023 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Limited
Cover designer: Aleksandra Szumlas
Cover image: Ewout Decraene
Frontispiece image: Performance of No Title at Teaterhuset Avant Garden, Trondheim (Norway) Director Mette Edvardsen. Photo by Mette Edvardsen, courtesy of the artist.
Indexer: Lyn Greenwood
Production manager: Sophia Munyengeterwa
Typesetter: MPS Limited
Hardback ISBN 978-1-78938-703-2
ePDF ISBN 978-1-78938-704-9
ePUB ISBN 978-1-78938-705-6
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This is a peer-reviewed publication.
Contents
List of Figures
Acknowledgements

Introduction
Only concepts? Dance and the conceptual
Only live? Dance and the ephemeral
Shaping time from within: Rhythm and dance
Going against the flow: Rhythm in contemporary dance
Dance-philosophy: An infinite conversation
Articulation of the chapters
1. Rhythm is Life: Rhythm in German Ausdruckstanz
The doctrine of energy and the rise of fatigue
The birth of K rperkultur: Jaques-Dalcroze's eurhythmics
Rhythm in the beginning of the twentieth century: Rudolf Bode and Rudolf Laban
Intermezzo: The evolution of the concept rhythm in Bergson's oeuvre
Ausdruckstanz and K rperkultur: Mary Wigman's ecstatic rhythms
Intermezzo: German Ausdruckstanz and the body politics during the Nazi era
Conclusion: Becoming rhythm, becoming life
2. Dancing in the Meantime: Syncopation in the Work of Jonathan Burrows and Matteo Fargion
On the fence: Rhythm and milieu in Deleuze and Guattari's Of the refrain
Playing apart: Rhythm and syncopation
Intermezzo: Transatlantic and the resistance of roots
Following the rhythm: The relation between rhythms and patterns
Conclusion: Syncopation's trouble
3. Still Dance: Hesitation in Ivana M ller's While We Were Holding It Together
Intermezzo: Dance and movement, a modernist love affair
Still-act: The tableau vivant
Time as hesitation: Bergson and the suspension of time
Intermezzo: The still, or the cinematographic experience of modern times
The space of elsewhere: Bachelard's poetic imagination
Intermezzo: Imagination, intuition and the task of the artist
Conclusion: What about tomorrow
4. Stumbling Through Time: Repetition in the Work of Mette Edvardsen
The logic of the phrase: Repetition in Accumulation and Dance
Stumbling through language: Repetition in Black and No Title
Running out of time: Performing the eternal return
Intermezzo: The triple murder of the eternal return, or Deleuze thinks death
Conclusion: The amnesiac witness
5. Dark Utopia, or Sleeping through Marten Sp ngberg's Natten
Dancing with myself
Spending the Natten together
Conclusion: Sushi or sashimi
6. Stealing Time: Rhythmic Operations in a Society of Control

Notes
References
Index
Figures 1.1: Emile Jaques-Dalcroze's students practicing rhythmic gymnastics in the open air, Parc Des Mayens, Grand Saconnex (CH), 1909. Photo by Frederic Boissonsas; courtesy of Bibliotheque De Geneve Iconographie. 1.2: Portrait of Mary Wigman, 1922. Photo by Jacob Merkelbach; courtesy of Beeldbank Stadsarchief Amsterdam. 2.1: Still from Both Sitting Duet , n.d. Jonathan Burrows, Matteo Fargion (chor.). Photo by Luca Ghedini; courtesy of the artists. 2.2: Still from Cheap Lecture , n.d. Jonathan Burrows, Matteo Fargion (chor.). Photo by Herman Sorgeloos; courtesy of the artists. 2.3: Two scores from Both Sitting Duet , n.d. Jonathan Burrows, Matteo Fargion (chor.). Courtesy of the artists. 2.4: Still from The Cow Piece , n.d. Jonathan Burrows, Matteo Fargion (chor.). Photo by Flavio Romualdo Garofano; courtesy of the artists. 3.1: Still from While We Were Holding It Together (WWWHIT) at Sophiensaele, Berlin (GE). Karen Roise Kielland, Pere Faura, Stefan Rokebrand, Katja Dreyer, and Jefta van Dinther. Ivana Müller (chor.), 2006. Photo by Karijn Kakebeeke; courtesy of the artist. 3.2: Still from WWWHIT at Sophiensaele, Berlin (GE). Stefan Rokebrand, Pere Faura, Katja Dreyer, and Jefta van Dinther. Ivana Müller (chor.), 2006. Photo by Karijn Kakebeeke; courtesy of the artist. 4.1: Still from the performance Black at F.I.S.Co. 11, Xing Bologna (IT). Mette Edvardsen (chor.), 2011. Photo by Gaetano Cammorata; courtesy of the artist. 4.2: Still from the performance No Title at far° festival des arts vivants Nyon (CH), Mette Edvardsen (chor.), 2014. Photo by Arya Dil; courtesy of the artist. 5.1: Still from Natten at Kunstenfestivaldesarts, Brussels (BE). Louise Dahl. Mårten Spångberg (chor.), 2016. Photo by Anne Van Aarschot; courtesy of the artist. 5.2: Still from Natten at Kunstenfestivaldesarts, Brussels (BE) 2016. Linda Blomqvist, Alexandra Tveit (chor.). Directed by Mårten Spångberg. Photo by Anne Van Aarschot; courtesy of the artist.
Acknowledgements
Performing Temporality in Contemporary European Dance: Unbecoming Rhythms could not have come into existence without the gifts of time, inquiry and dialogue from so many people, among them Stéphane Symons, Rudi Laermans, Anneleen Masschelein and my parents.
The greatest gift of all is that of trust, tenderness and companionship. I want to send my love to Lena, without whom I could not have done this, and to my newest love Omar. Words cannot begin to describe how important you both are to me.
Introduction
Imagine, it is 2006 and you are sitting in the auditorium of a theatre. The booklet on your lap states While We are Holding it Together - Ivana M ller in big bold letters. You lean back and relax, while the auditorium lights go out. On stage, the lights fade in, slowly revealing five performers standing in a particular position. They are looking at you, their eyes scanning the room, but otherwise they are not moving. After a minute of stillness, the stage lights fade out again. Meanwhile, you have migrated to the edge of your seat, somewhat surprised and puzzled. Is this a dance piece? But, no worries, the stage lights go back on. Surely, the performance will start now. As the lights come up, however, nothing has changed. The performers are still standing in the same position. Slowly you let go of the expectation of movement. The performers will stay frozen. There will be no choreographic movement, or, at least, not in the way you expect it.
The choreographic works discussed in this book all conjure up a similar experience of surprise, unsettling our preconceived ideas about dance and choreography. In Jonathan Burrows's and Matteo Fargion's Both Sitting Duet (2007), we encounter two unathletic middle-aged men who are sitting on chairs throughout the performance, only making simple gestures with their hands and arms. In Mette Edvardsen's diptych Black (2011) and No Title (2014), a woman calmly walks up and down the stage while depicting imagined objects with her hands, repeating the name of each object eight times, or moves about carefully and hesitantly with her eyes closed while enumerating a seemingly endless list of sentences that all start with no or end with gone . In M rten Sp ngberg's seven-hour-long performance Natten (2016), a group of dancers hang around on stage, sometimes dancing, but most often doing nothing more than sitting or lying down, staring at the audience, talking to each other or checking their phones. In all these pieces, there are no complex gestures skillfully executed, no athletic bodies seemingly capable of defying gravity, and, most of all, no continuous flow fusing different actions into an overarching movement. Instead, we are confronted with performers enacting unremarkable activities, often in a clumsy way, and unbecoming choreographic structures marked by discontinuity and interruption rather than grace, flow and cohesion.
In their resistance against the typical characteristics of dance, the pieces of Burrows and Fargion, M ller, Edvardsen and Sp ngberg do not stand alone. Rather, they are part of a wider trend that emerged in the 1990s within European contemporary dance and includes choreographers like Xavier Le Roy, J r me Bel, Eszter Salamon, Boris Charmatz, Mette Ingvartsen, duefert amp;plischke, Didi Dorvillier, Lilia Mestre, Philippe Quesne, Juan Dominguez and Vera Mantero. What binds these choreographers is not similar aesthetics or common thematics, as much as a shared resistance against the modernist approach to dance. Since the rise of modern dance in the beginning of the twentieth century, the project of dance has been driven by a quest for pure dance . Here, dance is framed as ongoing bodily movement and stripped from anything not connected to this movement. 1 The choreographic experiments that emerged in the 1990s resist this reduction of dance to its supposedly essential characteristics. Shifting the focus from dance to choreography, which they define generically as the organization of (non)human bodies in space and time, they expand the scope of the choreographic, adding on elements that are not considered essential for dance, like text of film. At the same time, they actively seek to subvert dance's so-called primary features. As Rudi Laermans argues, the choreographic work of the 1990s radically de-essentializes d