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    Wyświetlanie 1-2 z 2
    Tytuł:
    Powrót tańczącego ciała na irlandzką scenę w kontekście „niepokornych lat dziewięćdziesiątych”
    Irish “Nasty Nineties” and the (Re)Introduction of the Dancing Body onto the Irish Stage
    Autorzy:
    Ojrzyńska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/967692.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Irish Drama
    body
    dance
    Opis:
    Prompted by the swift economic growth and the equally rapid decline of the authority of the local Catholic Church, the 1990s witnessed a significant change in the Irish attitude towards national culture and morality. One of the fields which best illustrates these transformations is dance, whose new face can be seen as symbolically representing the Irish transition from a country still bearing the stigma of de Valera’s ethical and cultural policies to a more liberal and open-minded European nation. The 1990s are the times of abolishing the taboos imposed years earlier on the Irish body perceived as an object of distrust that needs to be kept under constant surveillance to serve the nationalist cause as an epitome of proper moral conduct. With this in mind, the paper aims to discuss both the nature of the most crucial aspects of the revolution in the Irish dance in the 1990s and the effect this has exerted on the condition of the Irish stage. This will provide substantial background for the discussion of selected recent works of such playwrights as Brian Friel, Vincent Woods or Tom Kilroy, which make extensive use of dance, showing their contribution to challenging the literary, word-based character ofIrish drama and theatre.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2014, 24, 2
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Corpo-grafie di donna: un matri-archivio del corpo danzante, pensante, migrante
    Female Corpo-graphies: A Matri-Archive of the Dancing, Thinking, Migrant Body
    Autorzy:
    Piccirillo, Annalisa
    Powiązania:
    https://bibliotekanauki.pl/articles/446498.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    matri-archive
    body
    dance
    memory
    Simona Lisi
    matri-archivio
    corpo
    danza
    memoria
    Opis:
    Ballet is the language that is most representative of dance culture in Italy, with its famous male librettists and choreographers, the archons of its knowledge. This academic tradition is closely connected to the aesthetic representation of the ethereal image of the female body – and the way she must be, without “weight”. By proposing a “matri-archival” methodology, this paper aims to interrogate the roles and the values that have been “choreographed” into the representation of women inside and beyond the Italian theatre-dance scene. The purpose is to discuss the choreographic experimentations where, instead, women dance and make dance themselves through their body- writing – here proposed as corpo-graphy. I select, in the form of fragments, practices of art of the lives of women and pioneers of western Dance History in order to trace the principles of “repetition and destruction” – which are always at play in every archiving act (Derrida, 1996) – of a specific force and quality of movement: “gravity”. Conceptually and metaphorically, “gravity” is conceived here as both the “weight” of the body and of the choreographic “thinking” that supports it. Following this way of thinking, I recall fragments of dance, theatre-dance, and video-dance, briefly referring to the corporeal stories of women and archons who rewrote the representative memory of the ethereal body transmitted through ballet – women who embody, dance, and think the research of a political and poetical protest. I conclude with an example of female corpo-graphy that hosts, on and with a woman’s own corporeality, the experience of contemporary migration.
    Il linguaggio che per la maggiore rappresenta la cultura della danza in Italia, con i suoi celebri librettisti e coreografi, i custodi della sua memoria, è il balletto classico. A questa tradizione accademica è strettamente connessa la rappresentazione estetica del corpo femminile, e del suo dover essere, etereo, senza “peso”. Questo intervento vuole interrogare, attraverso una metodologia “matri- archivistica”, la memoria dei ruoli che hanno “coreografato”, e quindi costruito, la rappresentazione del femminile entro e oltre la scena del teatro-danza italiano; l’intento è quello di discutere le sperimentazioni coreografiche in cui è, invece, la donna che danza e fa danzare se stessa attraverso la propria scrittura corporea – qui proposta come corpo-grafia. Consultando e selezionando le pratiche di arte e di vita di donne e pioniere della Storia della danza, occidentale, rintraccio la “ripetizione” e la “distruzione” – dinamiche insite in ogni atto d’archiviazione (Derrida, 1996) – di una particolare forza e qualità di movimento: la “gravità”, qui intesa, concettualmente e metaforicamente, come “peso” del corpo e, insieme, del “pensiero” coreografico femminile che lo sostiene. Su tale traccia di ricerca si ripercorrono, con una metodologia di richiami e frammenti di danza, teatro-danza e video-danza, le storie corporali di donne-arconti che ri-scrivono la memoria rappresentativa del corpo leggiadro trasmesso dalla tradizione del balletto classico, donne che incorporano, danzano e pensano la propria protesta politica e poetica, fino a ospitare sul, e con, la propria corporalità l’esperienza della migrazione contemporanea.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 307-322
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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