Matches in UGent Biblio for { ?s ?p In 'A Mary Wigman Dance Evening' the young Ecuadorian choreographer Fabian Barba re-enacts nine solos that were performed by the pioneer of modern dance during her first tour through the United States in 1930-1931. Barba establishes a dance-concert contract with the audience, using the modernist representational codes current at the time. He did not aim at a faithful or accurate reproduction, however. In relocating the Wigman-archive into his body, in transferring the collected video material and photographs into an embodied presentation, the Wigman-idiom dialogues with the corporeal memory and living archive of the performer’s body; his physicality as a male dancer, his habits, his training in Quito (Ecuador) and P.A.R.T.S. (Brussels). Besides, rather than glorifying and preserving a Mary Wigman-idiom, Barba aims at an embodied re-enactment that at the same time highlights the historical, physical and mental gap in the re-enactment of the collected archival material. In this sense, he follows a mode of collecting as it has been described and/or practiced by Walter Benjamin. Strolling the ruins of the history of modern dance, Barba avoids the narrative patterning of history and knowledge. He does not try to conceal death or ruination by merely romanticizing the era of modern dance, but highlights how easily the formerly fashionable and glorious becomes antiquated, how easily the formerly comfortable (representational codes) becomes strange.. }
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- aggregation abstract "In 'A Mary Wigman Dance Evening' the young Ecuadorian choreographer Fabian Barba re-enacts nine solos that were performed by the pioneer of modern dance during her first tour through the United States in 1930-1931. Barba establishes a dance-concert contract with the audience, using the modernist representational codes current at the time. He did not aim at a faithful or accurate reproduction, however. In relocating the Wigman-archive into his body, in transferring the collected video material and photographs into an embodied presentation, the Wigman-idiom dialogues with the corporeal memory and living archive of the performer’s body; his physicality as a male dancer, his habits, his training in Quito (Ecuador) and P.A.R.T.S. (Brussels). Besides, rather than glorifying and preserving a Mary Wigman-idiom, Barba aims at an embodied re-enactment that at the same time highlights the historical, physical and mental gap in the re-enactment of the collected archival material. In this sense, he follows a mode of collecting as it has been described and/or practiced by Walter Benjamin. Strolling the ruins of the history of modern dance, Barba avoids the narrative patterning of history and knowledge. He does not try to conceal death or ruination by merely romanticizing the era of modern dance, but highlights how easily the formerly fashionable and glorious becomes antiquated, how easily the formerly comfortable (representational codes) becomes strange.".