This article discusses the pedagogic practice of British choreographer Rosemary Butcher (1947–2016) with a particular focus on the ways she mentored dancers and choreographers as part of her self-curated workshop series Critical Pathways, programmed over a number of years at Independent Dance in London. Drawing on archive materials, personal research notes as well as practitioner interviews, the article draws out some of the idiosyncratic pathways of dance training that practitioners encountered as part of the series, and the ways these continue to influence their ongoing practice. The writing thematises Butcher’s signature use of language and conceptual tools for choreography-making, as well as her approach to teaching and mentoring dance practitioners, which was inextricably tied to her choreographic practice. Never seeming to settle on a formula that had worked before, there was an arguably timeless and endlessly adaptable inexhaustibility and curiosity to her approach to making that are key qualities of inventive practice. The article further discusses the ways that Butcher instigated processes of critical self-reflection and approaches to reinvention as part of a continual investigation into what dance and choreography might be.

本文讨论了英国编舞家罗斯玛丽·布彻（Rosemary Butcher，1947-2016 年）的教学实践，并特别关注她指导舞者和编舞者的方式，这是她自编自导的工作坊系列关键途径的一部分，在独立舞蹈部多年编程伦敦。本文利用档案材料、个人研究笔记以及从业者访谈，勾勒出从业者在该系列中遇到的一些特殊的舞蹈训练途径，以及这些途径继续影响他们正在进行的实践的方式。写作主题描述了布彻在编舞制作中对语言和概念工具的标志性使用，以及她教授和指导舞蹈从业者的方法，这与她的编舞实践密不可分。似乎从来没有解决过一个以前有效的公式，她的制作方法可以说是永恒的和无限适应的取之不尽用之不竭和好奇心，这是创造性实践的关键品质。文章进一步讨论了布彻如何激发批判性的自我反思过程和重塑方法，作为对舞蹈和编舞可能是什么进行持续调查的一部分。