Reflexivity in Contemporary Dance: An Anthropologist's Notes
By juxtaposing some key episodes in the development of contemporary dance and anthropology, I pretend to shed light on a crucial moment in the recent history of the performing arts. After tracking the similarities and differences between postdramatic theatre and what Rudi Laermans proposes to call “...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2021
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/10377 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=10377_oai |
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| Sumario: | By juxtaposing some key episodes in the development of contemporary dance and anthropology, I pretend to shed light on a crucial moment in the recent history of the performing arts. After tracking the similarities and differences between postdramatic theatre and what Rudi Laermans proposes to call “dance in general”, I focus on sociocultural anthropology in order to delineate more clearly the kind of reflexivity that unfolds in contemporary dance works as Jérôme Bel’s Pichet Klunchun and Myself (2005) and Xavier Le Roy’s Product of Other Circumstances (2009). At the same time, I reconstruct these two works and sound out the reach of a reflexivity that doesn’t operate “from the outside” but “from within”. Moreover, as in both cases a reflexivity is involved that revolves around the problem of alterity, this turns out to be particularly relevant to anthropology itself. At a more general level, I bring to light that the performing arts and the anthropological sciences are converging enterprises. |
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