Performance Research Pub Date : 2021-03-09 , DOI: 10.1080/13528165.2020.1868847 Jess McCormack
everything that rises must dance (2018) is a dance performance produced by Complicite, premiered as part of Dance Umbrella Festival and created by choreographer Sasha Milavic Davies, composer Lucy Railton, dance artists Antigone Avdi, Makiko Aoyama, Amanda Dufour, Valentina Formenti, Jennifer Irons, Camilla Isola, Ciara Lynch, Gabrielle Nimo, Claudia Palazzo and Inês Pinheiro and 200 volunteer performers. This article focuses on the collaborative choreographic processes used with the volunteer community cast of 200 women residents of London, as a way to think through the term diffraction as employed in the works of feminist theorists Karen Barad and Kathrin Thiele. Barad (2014 Barad, Karen (2014) ‘Diffracting diffraction: Cutting together-apart’, Parallax 20(3): 168–87. doi: 10.1080/13534645.2014.927623[Taylor & Francis Online], [Web of Science ®] , [Google Scholar]:168) reminds us that 'Diffraction owes as much to a thick legacy of feminist theorizing about difference as it does to physics'. She argues that diffraction is a material-discursive practice that can be employed to trouble dichotomies, explaining that ‘Diffraction is not a set pattern, but rather an iterative (re)configuring of patterns of differentiating-entangling’ (ibid). With everything that rises must dance (2018 everything that rises must dance (2018) Complicité, Dance Umbrella. [Google Scholar]), Sasha Milavic Davies and Lucy Railton aimed to produce a response to the city of London, a ‘living archive of female movement’. This article examines the ways in which the volunteer performers involved in the project engaged in an iterative process of observation, embodiment and (re)configuring of patterns to create a complex dialogue between their bodies and performance site. I argue that the concept of diffraction allows for a critical reflection on how the choreographic strategies employed in everything that rises must dance might open up radical ways of being together, bringing our attention to others experiences, and of asking us to think about the dominant discourses that currently exist around how we share urban spaces and to invite us to think about ways to question, challenge or resist these.
中文翻译:
舞蹈衍射
必不可少的一切舞蹈(2018)是由Complicite制作的舞蹈表演,是舞蹈伞节的一部分,由编舞者Sasha Milavic Davies,作曲家Lucy Railton,舞蹈艺术家Antigone Avdi,Makiko Aoyama,Amanda Dufour,Valentina Formenti,Jennifer创作铁杆,卡米拉·伊索拉(Camilla Isola),西亚拉·林奇(Ciara Lynch),加布里埃尔·尼莫(Gabrielle Nimo),克劳迪娅·帕拉佐(Claudia Palazzo)和因内斯·平涅罗(InêsPinheiro),还有200名志愿者。本文关注与伦敦200名女性居民的志愿者社区演员一起使用的协作编舞过程,以此作为对女权理论家Karen Barad和Kathrin Thiele作品中使用的“衍射”一词进行思考的一种方式。巴拉德(2014 巴拉德(Karad),卡伦(Karen)(2014)'衍射衍射:分开切割',视差20(3):168 – 87。doi:10.1080 / 13534645.2014.927623 [Taylor&Francis Online],[Web of Science® ,[Google Scholar]:168)提醒我们,“衍射是女权主义关于差异的厚厚传统的源泉,这与它对物理学的贡献一样多'。她认为,衍射是一种可以解决二分法问题的物质-分配实践,并解释说“衍射不是固定模式,而是迭代(重新)配置微分纠缠模式”(同上)。伴随一切崛起必须跳舞(2018崛起的一切都必须跳舞(2018)Complicité,Dance Umbrella。 [Google Scholar]),Sasha Milavic Davies和露西·雷顿(Lucy Railton)的目标是对伦敦市做出回应,伦敦市是一个“活跃的女性运动档案馆”。本文研究了参与该项目的志愿者表演者如何进行迭代的观察,体现和(重新)配置模式的过程,以在他们的身体与表演场所之间建立复杂的对话。我认为,绕射的概念可以批判性地反思在上升的一切事物中必须采用的编舞策略如何可以开辟一种激进的团结在一起的方式,将我们的注意力转移到其他经验上,并要求我们思考占主导地位的话语。目前围绕着我们如何共享城市空间以及邀请我们思考质疑,挑战或抵制这些问题的方式而存在。