Студенческий документ № 00112937 из АРБ им. Вагановой

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Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t716100720 Editorial: On Choreography Ric Allsopp; Andre Lepecki Online Publication Date: 01 March 2008

To cite this Article Allsopp, Ric and Lepecki, Andre(2008)'Editorial: On Choreography',Performance Research,13:1,1 - 6 To link to this Article: DOI: 10.1080/13528160802465409 URL: http://dx.doi.org/10.1080/13528160802465409

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Editorial On Choreography r i c a l l s o p p & a n d r e l e p e c k i If we approach the term 'choreography' historically, we find a neologism that appears in at least two versions between the late sixteenth century (as 'orchesography', coined by Thoinot Arbeau) and the late seventeenth century (as our currently used 'choreography', coined by RaoulAuger Feuillet), in order to name a new mode of practicing and understanding dance that accompanied, propelled, and mirrored the historical acceleration of the project of modernity. But, if we approach the term critically, we see how 'choreography's' syncretic composition condenses and outlines a whole constellation of concepts that have defined, for the past two decades at least, some of the main debates in performance theory. Indeed, the mere suturing and fusion of two apparently incongruous terms - movement and writing - into one single linguistic sign not only unleashed a series of effects in the creation and the reception of dance performances in the past four hundred years, but it has also shaped current theorizations and some performance practices in the past four decades - curiously and particularly in conceptual and post-conceptual performance art.

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