one, with the English National Ballet in Dust (2014). “Through Dust, Khan thus confronts the otherness of ballet through the otherness of his aesthetic of new interculturalism,” remarks Mitra: “On the one hand, he manages to stabilize classicist ballet audiences by taking them out of their comfort zones. On the other he simultaneously creates new audiences for ballet by making the art form speak to and of the contemporary milieu” (158). Khan has been appointed associate artist of the company in order to create new works and revive wellknown ballets “through his unique lens” (166). Mitra’s book ends evocatively, reminding the reader of “the undeniable reality” that Khan’s body of work “has irrevocably altered the landscape of global contemporary dance.” Further, she asserts, “What is less considered is the emancipation his art can offer to both contemporaneous and future generations of artists” (168). Overall, Akram Khan brings to life this pathbreaking dancer-choreographer’s creativity though lively discussions of his seminal works as well as through Mitra’s original theoretical insights into Khan’s “new interculturalism” as resonant for his audiences in Britain and the rest of the world.

中文翻译：

---

编舞问题：Bojana Cvejić 的欧洲当代舞蹈和表演中的表达概念。2015. 伦敦：帕尔格雷夫麦克米伦。262 页，16 幅插图，系列序言，致谢，缩写，介绍，结论，注释，参考书目，索引。95 美元精装本。

一，英国国家芭蕾舞团（2014）。“通过灰尘，汗因此通过他的新跨文化主义美学的他性来面对芭蕾的他性，”米特拉评论道：“一方面，他设法通过将古典芭蕾舞观众带出他们的舒适区来稳定他们。另一方面，他通过让芭蕾艺术形式与当代环境对话，同时为芭蕾创造了新的观众”（158）。汗已被任命为公司的副艺术家，以“通过他独特的镜头”创作新作品并重振著名的芭蕾舞剧（166）。米特拉的书以令人回味的结尾，提醒读者“不可否认的现实”，即汗的作品“不可逆转地改变了全球当代舞蹈的格局”。此外，她断言，“较少考虑的是他的艺术可以为当代和后代艺术家提供的解放”（168）。总体而言，阿克拉姆汗通过对其开创性作品的热烈讨论以及米特拉对汗的“新跨文化主义”的原创理论见解，使这位开创性的舞蹈编舞家的创造力栩栩如生，引起了英国和世界其他地区观众的共鸣。