Choreographic bodies are empowered by modes of expansion and transgression. Focusing on the energetic processes that lead to such empowerment, this article discusses the perceptual politics of trancelike scenes in the work of contemporary European choreographers and performers. As a body-mobilizing choreographic strategy of out-of-body and out-of-mind experiences, trance is closely linked to critical and utopian ideas, bodily transgressions, and crossed boundaries. While Mary Wigman treats trance as an incantation which contains the powers that it unleashes, contemporary choreographers like Doris Uhlich or Meg Stuart, expose the body to powers that nearly disintegrate it. As opposed to Wigman-style modernism, contemporary dance stages movement as a tremendous event that exposes performers and audiences to experiences of transgression.

中文翻译：

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Trance-gression的审美策略：狂喜的身体场景的政治

舞蹈机构被扩张和越界模式赋予权力。本文着眼于导致这种赋权的充满活力的过程，讨论了当代欧洲编舞家和表演者作品中恍惚场景的感知政治。作为出体和出体体验的动员身体编排策略，恍惚与批判和乌托邦思想、身体越界和跨越界限密切相关。玛丽·威格曼（Mary Wigman）将恍惚状态视为一种咒语，其中包含了它所释放的力量，而像多丽丝·乌利希（Doris Uhlich）或梅格·斯图尔特（Meg Stuart）这样的当代编舞家则将身体暴露在几乎瓦解它的力量之下。与威格曼式的现代主义相反，当代舞蹈将运动作为一个巨大的事件，让表演者和观众接触到越轨的经历。