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Auditory Turn: William Forsythe's Vocal Choreography
No full textWilliam Forsythe’s recent investigations of the sonic potentials of dance movement have led him to generate improvisational modalities that extend dancing
into the body’s interior by means of translations between movement and vocalization. Analyzing visuo-sonic choreographic processes in Forsythe’s works Decreation (2003), You made me a monster (2005), Heterotopia (2006), and Yes we can’t (2008) from a perspective informed by cognitive research,
and focusing particularly on intermodal counterpoint, I argue that his turn to the auditory extends his earlier investigations of perceptual performativity while also complicating linguistically based dance analyses
Book review: Dramaturgy in Motion: At Work on Dance and Movement Performance, by Katherine Profeta
No full textSchooling an ensemble: The Forsythe Company’s Whole in the Head
No full textThis embedded ethnographic study focuses on The Forsythe Company’s 2010 creation of Whole in the Head, the cast of which brought already-expert new dancers into collaboration with experienced ensemble veterans. The devising practice during the making of this “Schulwerk” yielded teaching and learning opportunities to all of the participants, whilst the emergent and distributed opportunities afforded by the devising context scaffolded the ensemble’s development as a complicit, choreographically productive community informed by specific somatic approaches to movement generation. Moving across unexpected etymological linkages of the term skill across languages, the analysis shows how the devising process of this work enhanced crucial expert-specific skills across the full ensemble, inviting consideration of the nature of skill and its expansion within communities of experts
Book review: Clelia Falletti, Gabriele Sofia, and Victor Jacono, ed. Theatre and Cognitive Neuroscience
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
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