Acknowledgments |
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ix | |
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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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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 Jansa'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 | |