Moving as Thing: Choreographic Critiques of the Object
2012; The MIT Press; Volume: 140; Linguagem: Inglês
10.1162/octo_a_00090
ISSN1536-013X
Autores Tópico(s)Musicology and Musical Analysis
ResumoOCTOBER 140, Spring 2012, pp. 75–90 © 2012 October Magazine, Ltd. and Massachusetts Institute of Technology. If there is a distinguishing trait of recent experimental dance, it is the noticeable presence of objects as main performative elements. Examples can be found in numerous works of the past three or four years. German choreographer Thomas Lehmen’s recent Schrottplatz (Scrapyard, 2010) is a fifty-minute solo piece in which Lehmen interacts with a lamp, chairs, a microphone, a hammer, a tomato, and a newspaper, among other items, attempting to explain to one object the function or nature of the object next to it. Exploring the elusive yet inescapable referentiality of objects, Schrottplatz probes the limits of signification, as it displays language bouncing against the opaque surface of matter. In Portuguese choreographer Vera Mantero’s group piece We Are Going to Miss Everything We Don’t Need (2009), we also encounter an investigation of what Mantero calls the “rebound effect” between an “object of the world” and the word that signifies it, the ambiguous movement between an object’s sheer presence and its semantic resonances. As Mantero writes in the program notes for her evening-length piece, such a rebound effect between bodies and objects, mediated by language, opens the possibility for “touching the other side of things.” But the recent choreographic move toward objects is not only concerned with exploring the gap between referentiality and signification. In My Private
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