In this article, I specify and historicize the modes of communication that were at play among practitioners of contact improvisation+ and between the dancers and their audiences throughout the 1970s and into the early 1980s. I argue that contact improvisation's turn away from dance as a performed visual medium and toward the tactile experience of the participants exceeds a phenomenological reading and instead needs to be considered in light of anarchist theories of mutual assistance in which group behavior supports individual development. At the same time, however, Steve Paxton, the founder of the form, became concerned precisely with its opacity for an audience. I locate this ambivalent engagement with the performance of a participatory action in the edited video recordings that Paxton made together with Lisa Nelson, Nancy Stark Smith, and Steve Christiansen. These mediated videos, aligned with the rise of video art, paradoxically aim to spark a stronger connection than Paxton thought was possible during the live demonstrations of the form.

中文翻译：

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取代愿景：接触即兴创作、无政府状态和同理心

在这篇文章中，我详细说明并历史化了 1970 年代和 1980 年代初接触即兴+实践者之间以及舞者和他们的观众之间的交流模式。我认为，接触即兴表演从舞蹈作为一种表演的视觉媒介转向参与者的触觉体验，这超出了现象学的解读，而是需要根据无政府主义的互助理论来考虑，在这种理论中，群体行为支持个人发展。然而，与此同时，该表格的创始人史蒂夫·帕克斯顿（Steve Paxton）开始关注其对观众的不透明性。在帕克斯顿与丽莎·纳尔逊、南希·斯塔克·史密斯、和史蒂夫克里斯蒂安森。这些中介视频与视频艺术的兴起相一致，自相矛盾地旨在激发比帕克斯顿在现场演示中所认为的更强大的联系。