Written criticism and discussion about dance works are the anthropological residue of their substance. While film and notation methods can be used to archive dances, the meanings, feelings, and responses the experiences elicit can only be captured through the written or spoken word. What types of work are less than ideal for sophisticated critical discourse? Why are some works/companies/genres given implicit attention, while others are largely dismissed? What do these preferences, assumptions, and omissions mean as a reflection of the overarching culture and trends in dance? This research will broadly look at the climate of critical dialogue of dance and aesthetics on the concert stage over the past 20 years, noting any gaps in coverage and spell out the implications of this. I will focus particularly on Jerome Bel, a choreographer that consistently produces high quality work that is amenable to critical discourse, but typically does not receive very much.
|State||Published - Oct 2010|