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On Pina Bausch’s Legacy: an interview with Dominique Mercy
No full textPerhaps no other author has better characterized the work of Pina’s
dancers – and, therefore, the artist’s herself – than José Sasportes – a
remarkable Portuguese dance critic and historian. This brief observation of
Sasportes, made in a text entitled Acção para bailarinos [Action for dancers],
and regarding an event held in Lisbon in honor to Pina Bausch, allows to perceive in quite clearly the meaning of the experience and legacy of a remarkable artist, that are summarized in the figure of one of her greatest collaborators, Dominique Mercy.
Certainly, there is no need to introduce Dominique. It is worthy,
though, to recover some moments that preceded his fortuitous encounter with Pina in the early 1970’s in Saratoga, United States. Born in 1950 in the city of Mauzac, France, Dominique’s first professional steps in the dance world from the mid-1960’s on were in the Bordeaux Grand Théâtre,
later followed by the Amiens Ballet du Art Contemporain. In 1973, two
years after his first encounter with Pina in the Summer Festival of Saratoga,
in 1971, Dominique goes to Germany, to Wuppertal, to be part of the
recently founded Tanztheater.
His close relationship with Pina allowed, in fact, that her legacy could
be kept alive following her sudden death in 2009. Dominique took over the
artistic direction of the Company with Robert Sturm for some of the
following years, having later transferred the position to his co-worker and
dancer Lutz Forster. It was beside Pina and so many others from the
Wuppertal ensemble that Dominique ended up writing one of the major
pages in the annals of dance history in the 20th century.
The experience of – or rather, with – Pina that each one of us
apparently has with her when meeting her work for the first time, allowing
to understand in a certain extent the fascination that she exerts until
nowadays on the audience, passes as well and indispensably through those
who worked with her and by her means. My first time with Pina was, for
sure, beside Dominique Mercy, or rather, in front of him. Dominique was
half-naked, wearing only a tutu and carrying a watering can. It was 2006,
for the presentation of Fur die kinder von gestern, heunte und morgen, in
Porto Alegre. Pina was also there.
The unusual encounter – even though separated by the proscenium
arch – would happen again years later in Paris. However, this time, in
2011, without Pina and with no line dividing us. I was introduced to
Dominique following one of the presentations of Como el musguito em la
piedra..., by the also Tanztheater Wuppertal dancer Daphnis Kokkinos. On
that occasion, Dominique had an extremely light and welcoming attitude.
Over the years, I noticed that it was not a protocol way of introduction, but
Dominique Mercy; Marcelo de Andrade Pereira – On Pina
Bausch’s Legacy: an interview with Dominique Mercy
the very donation of part of what he was, how he was, not in a way, but in
his way, with or without tutu. In January 2018, when recollecting that
encounter with Dominique in his house in Barmen, Wuppertal, he did not
remember it. And he certainly could not, as I, absorbed in my amazement,
had articulated little – or nothing – at that moment. However, even in my
involuntary contemplation, something had been given to me, a long-lasting
presence.
It was according to Dominique’s generous, honest and delicate way
that this interview actually happened. I thank him for the attention and for
the coffee. I also thank my dear friend Eddie Martinez, who made this and
so many other happy encounters possible to me
At work with Pina Pausch: An interview with Dominique Mercy
No full textDominique Mercy first met Pina Bausch in the United States at a summer academy organized by the choreographer Paul Sanasardo. Telling of his experience of the New York dance scene in the beginning of the 70s, and how he perceived it as differing from both living as well as dancing in
Europe, he moves on to provide a detailed account of the development of Pina Bausch’s questioning method.</jats:p
MALOU AIRAUDO ET DOMINIQUE MERCY: "MARQUER" L'ESPACE SACRé ENTRE LA VIE ET LA DANSE
No full text" Malou Airaudo et Dominique Mercy: espace sacré entre la vie et la danse".
Nel mio lavoro multimediale svolgo un’indagine sulle relazioni tra le varie partiture coreografiche e i corpi complementari di Malou e Dominique, i danzatori-attori della compagnia di Pina Bausch. Sono corpi complementari, femminile/maschile, forte/debole, alto/basso, in cui affiorano squarci dolorosi del mito - Ifigenia (Tanzoper Iphigenie auf Tauris) e Oreste, Orfeo ed Euridice (Tanzoper Orpheus und Eurydike) - Malou Airaudo e Dominique Mercy sono i soggetti danzanti che informano di sé, comunicando la loro personale esperienza di amici, di amanti, di genitori di Thusnelda, giovane danzatrice del Wuppertal Tanztheater, e oggi eredi di riferimento della Compagnia di Pina Bausch. Corrispondenze che tornano nelle pratiche e negli esercizi dei danzatori, in prova e in scena, e oggi sullo schermo (il film Pina di Wim Wenders)
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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