Acknowledgments |
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ix | |
List of Contributors |
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xi | |
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1 Introduction: The Power Of Recall In A Post-Ephemeral Era |
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1 | (18) |
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Part I. Phenomenology Of The Archive |
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2 Tracing Sense/reading Sensation: An Essay On Imprints And Other Matters |
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19 | (14) |
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3 Giving Sense To The Past: Historical D(ist)ance And The Chiasmatic Interlacing Of Affect And Knowledge |
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33 | (24) |
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4 Martha@...The 1963 Interview: Sonic Bodies, Seizures, And Spells |
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57 | (22) |
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Part II. Historical Fiction And Historical Fact |
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5 Reenactment, Dance Identity, And Historical Fictions |
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79 | (22) |
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6 Bound And Unbound: Reconstructing Merce Cunningham's Crises |
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101 | (42) |
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7 The Motion Of Memory, The Question Of History: Recreating Rudolf Laban's Choreographic Legacy |
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143 | (22) |
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Part III. Proleptic Iteration |
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8 To The Letter: Lettrism, Dance, Reenactment |
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165 | (12) |
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9 Letters To Lila And Dramaturg's Notes On Future Memory: Inheriting Dance's Alternative Histories |
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177 | (38) |
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With Letters By Rani Nair |
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Part IV. Investigative Reenactment: Transmission As Heuristic Device |
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10 (Re)enacting Thinking In Movement |
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215 | (14) |
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11 . Not Made By Hand, Or Arm, Or Leg: The Acheiropoietics Of Performance |
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229 | (18) |
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12 Pedagogic In(ter)ventions: On The Potential Of (Re)enacting Yvonne Rainer's Continuous Project/Altered Daily In A Dance Education Context |
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247 | (22) |
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Part V. Enacting Testimony/performing Cultural Memory/spectatorship As Practice |
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13 What Remains Of The Witness? Testimony As Epistemological Category: Schlepping The Trace |
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269 | (16) |
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14 Baroque Relations: Performing Silver And Gold In Daniel Rabel's Ballets Of The Americas |
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285 | (26) |
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15 Reenacting Kaisika Natakam: Ritual Dance-Theater Of India |
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311 | (16) |
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16 Gloriously Inept And Satisfyingly True: Reenactment And The Practice Of Spectating |
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327 | (12) |
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Part VI. The Politics Of Reenactment |
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17 Blasting Out Of The Past: The Politics Of History And Memory In Janez Janga's Reconstructions |
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339 | (16) |
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18 Reenactment As Racialized Scandal |
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355 | (20) |
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19 Reenacting Modernist Time: William Kentridge's The Refusal Of Time |
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375 | (24) |
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Part VII. Redistributions Of Time In Geography, Architecture, And Modernist Narrative |
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20 Quito-Brussels: A Dancer's Cultural Geography |
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399 | (14) |
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21 Dance And The Distributed Body: Odissi And Mahari Performance |
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413 | (36) |
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22 Choreographic Re-Embodiment Between Text And Dance |
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449 | (22) |
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Part VIII. Epistemologies Of Inter-Temporality |
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23 Affect, Technique, And Discourse-being Actively Passive In The Face Of History: Reconstruction Of Reconstruction |
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471 | (16) |
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24 Epilogue To An Epilogue: Historicizing The Re- In Danced Reenactment |
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487 | (18) |
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25 The Time Of Reenactment In Basse Danse And Bassadanza |
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505 | (20) |
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26 Time Layers, Time Leaps, Time Loss: Methodologies Of Dance Historiography |
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525 | (10) |
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Part IX. Reenactment In/as Global Knowledge Circulation |
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27 (In)distinct Positions: The Politics Of Theorizing Choreography |
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535 | (14) |
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28 Scenes Of Reenactment/logics Of Derivation In Dance |
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549 | (22) |
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29 A Proposition For Reenactment: Disco Angola By Stan Douglas |
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571 | (16) |
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30 Dance In Search Of Its Own History: On The Contemporary Circulation Of Past Knowledge |
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587 | (20) |
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Afterword: Notes After The Fact |
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607 | (14) |
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Index |
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621 | |