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• W1601657504 abstract "London: Routledge, 2004 196 pages, £19.99 To the unsuspecting reader, Alexandra Carter’s latest compendium—a collection of writings on specific moments in the history of Western theatrical dance—comes alive only in its penultimate chapter. It is here that choreographer Matthew Bourne, discussing the swan movements of his recent Swan Lake, acknowledges a debt to Nijinsky. Bourne remarks: “I wanted that Nijinsky-type use of the arms crossed over the head—as in the photographs of Spectre [Le Spectre de la rose, 1911] and Narcisse [1911]” (p. 167). It is, I suspect, the familiarity of the posture—and the photos—that enlivens Bourne’s description. In the case of Spectre, the image of Nijinsky in rose petals, with arms enveloping his head, is almost iconic, owing largely to an implied androgyny.1 But Bourne’s comment becomes further alive by means of its incongruity with the surrounding pages. This is one of the few occasions in which anyone or anything “canonic”—or, to be less contentious, “well-known”—is mentioned in Carter’s anthology. Of course, degrees of familiarity are contestable, particularly across disciplinary boundaries. The potential renown of native Indian Odissi (a classical dance style from the eastern state of Orissa, and the subject of chapter 13) or the late nineteenth-century ballet girl Cara Tranders (chapter 7) might pass unnoticed among many, including musicologists. Nevertheless, the foregrounding of Odissi, Tranders, and other seeming ephemera in place of those more familiar figures in dance history—I think of Jean Georges Noverre, Marie Taglioni, Théophile Gautier, and Marius Petipa, to name a few—is surprising. As is something else. Bourne’s passage on Nijinsky is one of few to mention dance’s most basic component, gesture. To put this another way, dance description or analysis is effectively absent from this book. There are only a handful of verbalizations of the gestural aspect and just one illustration: on the front cover (of the paperback edition) and bearing no relation I can see to the book’s contents. The dance itself, along with the “well known” of its history, has become accepted consciously—or is it unconsciously?—as a historical given. Like Nijinsky’s rose in Spectre, it is a phantom presence, teasing with its lost materiality." @default.
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• W1601657504 date "2006-12-13" @default.
• W1601657504 modified "2023-09-27" @default.
• W1601657504 title "Rethinking Dance History: A Reader, ed. Alexandra Carter" @default.
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