ABSTRACT FRENCH L’article propose une analyse des implications mémorielles dans la création en 1985 du solo Schritte verfolgen (En retraçant les pas) de Susanne Linke et de sa reprise en 2007 intitulée Schritte verfolgen II. Rekonstruktion und Weitergabe. Solotanz mit vier Tänzerinne (En retraçant les pas II. Reconstruction et transmission. Solo avec quatre danseuses), à la lumière des narrations autobiographiques et des approches de la reconstruction et du reenactment dans la danse contemporaine. Linke a déjà exploré ces dimensions avec Afectos humanos (1987), sa reconstruction d’un cycle de solos créés par Dore Hoyer en 1962. Plus récemment, elle a collaboré à Le Dernier Spectacle (1998) que Jérôme Bel a structuré autour de la citation des certains passages du solo de Linke, Wandlung. Hommage an Mary Wigman qu’il a dansé lui-même avec trois autres interprètes. L’objectif est de vérifier comment la centralité donnée à la subjectivité de l’artiste et à son expérience de vie (un élément fondamental de la poétique de Linke et du Tanztheater allemand) se transforme face aux différentes possibilités du refaire (re-doing) qui mettent en évidence la diversité (apparente) entre autobiographie et biographie, et questionnent l’authenticité de la vérité du récit ainsi que le statut d’œuvre / interprète original(e). ABSTRACT ENGLISH The article provides an analysis of the implications of memory in the creative process of the solo Schritte verfolgen (Tracing the footsteps) by Susanne Linke and its reenactment in 2007: Schritte verfolgen II. Rekonstruktion und Weitergabe. Solotanz mit vier Tänzerinne (Tracing the footsteps II. Reconstruction and transmission. Solo with four dancers). The analysis is based on theories of both autobiography and reenactment in contemporary dance. Linke has explored these dimensions in Afectos humanos (1987), her reconstruction of a cycle of solos created by Dore Hoyer in 1962, and more recently by collaborating with Jérôme Bel to his Le Dernier Spectacle (1998), a piece structured around the quotation of some passages from her solo, Wandlung. Tribute to Mary Wigman. The article aims to verify how the centrality given to the artist’s subjectivity and life experience (a founding characteristic of Linke’s and the German Tanztheater’s poetics) is transformed by the different possibilities of re-doing. This process highlights the (apparent) diversity between autobiography and biography, and questions the truthfulness of the narrated story as well as the status of the original work / performer.

The article provides an analysis of the implications of memory in the creative process of the solo Schritte verfolgen (Tracing the footsteps) by Susanne Linke and its reenactment in 2007: Schritte verfolgen II. Rekonstruktion und Weitergabe. Solotanz mit vier Tänzerinne (Tracing the footsteps II. Reconstruction and transmission. Solo with four dancers). The analysis is based on theories of both autobiography and reenactment in contemporary dance. Linke has explored these dimensions in Afectos humanos (1987), her reconstruction of a cycle of solos created by Dore Hoyer in 1962, and more recently by collaborating with Jérôme Bel to his Le Dernier Spectacle (1998), a piece structured around the quotation of some passages from her solo, Wandlung. Tribute to Mary Wigman. The article aims to verify how the centrality given to the artist’s subjectivity and life experience (a founding characteristic of Linke’s and the German Tanztheater’s poetics) is transformed by the different possibilities of re-doing. This process highlights the (apparent) diversity between autobiography and biography, and questions the truthfulness of the narrated story as well as the status of the original work / performer.

Retracer une subjectivité dansante, repenser une histoire incorporée.De Schritte verfolgen de Susanne Linke à sa reprise en passant par à Afectos humanos de Dore Hoyer et Le Dernier Spectacle de Jérôme Bel

Susanne Franco
2019-01-01

Abstract

The article provides an analysis of the implications of memory in the creative process of the solo Schritte verfolgen (Tracing the footsteps) by Susanne Linke and its reenactment in 2007: Schritte verfolgen II. Rekonstruktion und Weitergabe. Solotanz mit vier Tänzerinne (Tracing the footsteps II. Reconstruction and transmission. Solo with four dancers). The analysis is based on theories of both autobiography and reenactment in contemporary dance. Linke has explored these dimensions in Afectos humanos (1987), her reconstruction of a cycle of solos created by Dore Hoyer in 1962, and more recently by collaborating with Jérôme Bel to his Le Dernier Spectacle (1998), a piece structured around the quotation of some passages from her solo, Wandlung. Tribute to Mary Wigman. The article aims to verify how the centrality given to the artist’s subjectivity and life experience (a founding characteristic of Linke’s and the German Tanztheater’s poetics) is transformed by the different possibilities of re-doing. This process highlights the (apparent) diversity between autobiography and biography, and questions the truthfulness of the narrated story as well as the status of the original work / performer.
2019
1
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3725366
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