TY - JOUR
T1 - Responding to Per.Art's Dis_Sylphide
T2 - six voices from IFTR's Performance and Disability Working Group
AU - Ames, Margaret
AU - Calvert, Dave
AU - Glørstad, Vibeke
AU - Maguire-Rosier, Kate
AU - McCaffrey, Tony
AU - Schmidt, Yvonne
PY - 2019/3
Y1 - 2019/3
N2 - This submission by IFTR's Performance and Disability working group
features responses by six participants – voices projected from Canada,
New Zealand, Norway, Wales, England and Australia – to Per.Art's
production Dis_Sylphide, which was presented
on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of
IFTR's conference in Belgrade at the invitation of the Performance and
Disability working group. Per.Art is an independent theatre company
founded in 1999 in Novi Sad, Serbia, by the internationally recognized
choreographer and performer Saša Asentić, the company's artistic
director. The company brings together people with learning disabilities,
artists (theatre, dance and visual arts), special educators,
representatives of cultural institutions, philosophers, architects and
students to make work. This co-authored submission examines how the
production responds to three important dance works of the twentieth
century – Mary Wigman's Hexentanz (1928), Pina Bausch's Kontakthof (1978) and Xavier Le Roy's Self Unfinished
(1998) – to explore normalizing and normative body concepts in dance
theatre and in society, and how they have been migrating over the course
of dance histories. The shared experience of witnessing the performance
provoked discussion on the migration of dance forms across time and
cultures, as well issues of access and (im)mobility, which are
especially pertinent to a disability studies context.
AB - This submission by IFTR's Performance and Disability working group
features responses by six participants – voices projected from Canada,
New Zealand, Norway, Wales, England and Australia – to Per.Art's
production Dis_Sylphide, which was presented
on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of
IFTR's conference in Belgrade at the invitation of the Performance and
Disability working group. Per.Art is an independent theatre company
founded in 1999 in Novi Sad, Serbia, by the internationally recognized
choreographer and performer Saša Asentić, the company's artistic
director. The company brings together people with learning disabilities,
artists (theatre, dance and visual arts), special educators,
representatives of cultural institutions, philosophers, architects and
students to make work. This co-authored submission examines how the
production responds to three important dance works of the twentieth
century – Mary Wigman's Hexentanz (1928), Pina Bausch's Kontakthof (1978) and Xavier Le Roy's Self Unfinished
(1998) – to explore normalizing and normative body concepts in dance
theatre and in society, and how they have been migrating over the course
of dance histories. The shared experience of witnessing the performance
provoked discussion on the migration of dance forms across time and
cultures, as well issues of access and (im)mobility, which are
especially pertinent to a disability studies context.
UR - http://www.scopus.com/inward/record.url?scp=85063970711&partnerID=8YFLogxK
U2 - 10.1017/S0307883318000846
DO - 10.1017/S0307883318000846
M3 - Article
AN - SCOPUS:85063970711
SN - 0307-8833
VL - 44
SP - 82
EP - 101
JO - Theatre Research International
JF - Theatre Research International
IS - 1
ER -