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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Wed Apr 28, 2004 10:49 am 
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I read "expectation" as "logical or internal consistency", but I admit that this is but one facet of what a performance gives an audience.

Interesting also that we bring our own expectations to the table even when reading and interpreting that one sentence.

--Andre


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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Thu Apr 29, 2004 7:51 am 
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Location: San Ramon High School
Exactly my point...therefore for a critic to assume an expectation and attempt to "fulfill" it, is, as I already stated, absurd.


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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Sun May 16, 2004 10:21 am 
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Location: Italy and UK
I agree with Azlan, dance criticism is particularly important to produce a record, a written record of what has happened.
We must not forget that we live in a society where it is the written word that counts rather than other forms of cultural productions. In Latin this is well captured in 'verba volant, scripta manent' (spoken words fly away, written words remain).

In this sense I have often found it problematic to write about something that is so corporeal, that is so rooted in the body and especially in the body that moves, such as dance is.
In Italian reviews of dance performances there is a tendency to talk about various information about the Company and little space is left to the performative aspect. I am not sure if this is due to the fact that dance in Italy is relegated to the margins of the art panorama and there is little knowledge and investment in its potentials. Therefore a more specific article may distance further the reader from it (???).

I have noticed that in the English reviews there is more attention to the performative aspect of the piece in question, there are descriptive passages joined together with the interpretative ones. I find this second approach more engaging with the practicality of dance as a non-verbal (in most of the cases, of course) art form.

Still I would like to question further the way reviews or even critical pieces and academic writing about dance are being done. I feel like we (they) could experiment more, drawing inspiration from dance itself together with its ephemereal quality.

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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Mon May 17, 2004 9:25 am 
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Rosella, as a professoinal annotator for many years, my responsibility is to construct a written medium that provides a verbal counterpart for the artistry on the stage. Ideally, my notes provide the audience with a bridge into the performance. This "counterpart" very much depends on the nature of the ballet being presented. For example, an abstract or plotless ballet might be best served through a poetic, comparative, or metaphorical annotation. A ballet that is narrative, yet oblique to the subject matter, as dances often are, benefits from a little background, or dare I say it "book-report" formatting. Those dances which further an historical tradition, however unconventional in their current manifestation, require a little historical configuration and framing within the written material, so the audience might recognize the classical amidst the contemporary. (This is especially true with Oakland Ballet.) I have worked with scores of choreographers and found them most willing and eager to work WITH me and not ABOVE me if I proffer my own artistry to them in this way. Space permitting, I include the music as a character, of course. NEVER EVER would I impute the motives of a choreographer, composer or dancer.
I attempt only to align my written material with their kinetic artistry. I love annotation!!!!


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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Tue May 18, 2004 2:09 am 
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Location: Italy and UK
Wow, that is really interesting!
This is the kind of approach I would argue for, I do not believe in a one format way of writing an article (of course we do need a common set of 'rules', but they need to be flexible), whether it is a review or an academic piece of work, I prefer to adapt my writing to the dance piece itself, it is quite difficult but your 'system' Shallot seems to be going into that direction....I would like to know more about it, can you give us a more detailed example????
Cheersss!

Moreover I think that such a different way of relating to one's own writing would need a background that could well join a good knowledge of literature and dance. Literature as it represents the field that does deal with writing styles and their experimentations, dance of course because you need a trained eye and cultural background to write about it....I understand that this is a complex recipe but I think it creates a refreshing perspective on dance writing.....

Furthermore (and than I will stop) I deeply believe that dance as an embodied language is able to change the sometimes too authoritative and strict rules of literature, I do not trust a derivative approach where dance writing needs to adjust itself to the codes im/posed by literature, I prefer to think about these two fields as actively and creatively interacting with each other.....

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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Tue May 18, 2004 9:51 am 
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Location: San Ramon High School
Thank you for the support. As regards an example, maybe Stagebill or Performing Arts Magazine has a website in which my work is archived. I do not know. There would be samples dating back to 1998.The Balachine Trust would have my work on "Apollo". See also, "American Poets and Poetry", September 2000. As I stated earlier, most choreographers embrace poetic annotation for their work. After all is not dance a poetry of movement, and poetry a dance of words?


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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Sun May 23, 2004 7:01 am 
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Absolutely!!!!! poetry and dance share a perception for things in life that are incredibly intense and directo to the core of questions, poetry with the choice of words in terms of sound and meaning, dance with an articulated web of movements!!!! I only wish they would interact more.

Yesterday I was at a dance marathon in my area in Italy and preceding one of the dance pieces there was a poetry reading, which in theory is a nice thing. Unfortunately, alas, the poet had no notion of dance culture and his poems, although very valued among literary circles, did not really match with the audience composed of young people and with the dance piece characterised by a contemporary approach to movement and by a refined use of computer images.

The poet read verses about a fairy and memory, while the pieces following his brief performance danced very energetic, sensual and futuristic dances whose titles were 'disturbed', 'suspended' and 'inebriation'. Pity.

I think at the bottom of it all there is a bare ignorance of each other's field so that when it happens that they are put close to each other, a great chance of active interaction is missed, it's great that there are people who do grasp both and is able to put them together, thanks again Shallot!

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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Mon May 24, 2004 6:59 am 
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Location: San Ramon High School
Although my code name does not show it, I too, am from Italy...Sono nata a Firenze!!!! Sono stata in Italia due anne fa...mi dispiace, ma non varo quest' estate...troppo caro!!!! La mia mama e arrabiata.

Sono cosi contenta!!
E, alora, come vanno le cose in Italia questi giorni?
Tante grazie per i tuoi scrivere!!!
Devo andare a lavore...ciao.


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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Mon May 24, 2004 7:11 am 
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Of course you understand the poetry and art of dance, you are an Italian!!! Where are you in Italy?


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 Post subject: Re: What exactly constitutes "dance criticism"? (W
PostPosted: Sat May 29, 2004 7:17 am 
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Location: Italy and UK
I am from Jesi near Ancona, in the region of Marche, but I do not think my interest in poetry and dance comes from my being Italian, in reality dance counts less than zero in the politics of this country (and connected with that, there is its very small cultural presence).

I actually began loving poetry and dance at University studying American literature. Is it not funny?
Anyway, keep on with your work, Shallot!
Ci vediamo. :)

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