July 29, Saturday, Session 1

Why a Theory of Spectatorship

is Important to Historical Performance...

From Mark Franko:

The artist must know notation but also go beyond it and embody the aesthetic of the period.

How do we approach performance?

Mark proposes that we approach performance through a theory of historical spectatorship. What did the historical spectator experience and how can we reproduce/approximate these effects on/in the contemporary spectator. This has been at the core of his idea of historical construction (not reconstruction) for some time. In this talk, he will use the ideas of José Antonio Maravall in his Culture of the Baroque to discuss his ideas of suspension and incompleteness in relation to the movement aesthetic of fantasmata.

You may want to read Mark's book, Dance as Text: Ideologies of the Baroque Body (2nd edn)

You may also be interested in reading additional current theoretical writings. I have only just begun

Expanded Choreographies - Choreographic Histories

Trans-Historical Perspectives Beyond Dance and Human Bodies in Motion

by Anna Leon.

This work is free and online. Look at Chapter 3.

Hope to see you for Mark Franko's presentation!!!

Catherine

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