Dance and the Political: States of Exception
Dance and the Political: States of Exception
复制标题
舞蹈与政治：例外状态
DOI：
10.1017/s0149767700007300
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发表时间：
2006
影响因子：
0.6
通讯作者：
Mark Franko
中科院分区：
文献类型：
--
作者：
Mark Franko
我的第一个想法是将奥斯德鲁克斯坦的文学作品与其他领域关于法西斯美学理论化的作品进行比较。这将为德国现代舞的法西斯化这一令人烦恼的问题建立一个批判性的框架。正如苏珊·曼宁、马里昂·康德和劳雷·吉尔伯特的研究所明确表明的那样，由于德国现代舞很容易和大量地适应了第三赖希的文化政策，《奥地利舞蹈》回避了舞蹈和政治的问题。澳大利亚舞蹈节的历史一直被遮蔽，但这些学者的原创性研究说服我们从政治的角度重新思考舞蹈现代主义。20世纪早期的前卫艺术运动和专制的国家机器在各自发展的关键时刻相遇;一些新的东西正在艺术上和政治上被创造出来，揭示了相互矛盾的力量和倾向。只有当这些舞蹈学者揭开面纱，改写历史时，我们才开始在政治的充分光照下看待舞蹈。他们开创了一个需要进一步研究的领域。但是，任何严肃的舞蹈研究方法的关键发展也必须对他们的重新评估Ausdruckstanz进行测试。
My first idea was to compare Ausdruckstanz literature to work in other fields on the theorization of fascist aesthetics. This would establish a critical framework for the vexed question of the fascistization of German modern dance. As the research of Susan Manning, Marion Kant, and Laure Guilbert has made patently evident, Ausdruckstanz begs the question of dance and politics because of the easy and massive accommodation of German modern dance to the cultural policies of the Third Reich. The history of Ausdruckstanz has long been veiled, but the original research of these scholars persuades us to reconsider dance modernism from the political perspective. An early twentieth-century avant-garde art movement and an authoritarian state apparatus encounter each other at a moment crucial in the development of each; something new is being created, both artistically and politically, that reveals contradictory forces and tendencies at work. Only when these dance scholars lifted the veil and rewrote history could we begin to perceive dance in the full light of the political. They have inaugurated an area of inquiry that requires further work. But any serious critical development of dance study methodology must also be tested against their re-evaluation Ausdruckstanz.