The autoethnographic act of choreography: considering the creative process of storytelling with and on the performative dancing body and the use of Verbatim Theatre methods
The autoethnographic act of choreography: considering the creative process of storytelling with and on the performative dancing body and the use of Verbatim Theatre methods
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编舞的自民族志行为：考虑用表演性舞蹈身体讲故事的创作过程以及逐字剧场方法的使用
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发表时间：
2016
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通讯作者：
Lliane Loots
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作者：
Lliane Loots
摘要本文以梅洛-庞蒂（1962）关于身体是认识世界的主要手段的观点为基础，从我们有身体、是身体、成为身体的认识开始。对于那些像我一样用身体讲故事的人来说，这些都是关键的概念--舞蹈动作。为具身的“我”的概念辩护，并质疑自我民族志的政治（参见，例如，Holman Jones 2005），这篇文章提供了我自己的概念化和编排这些日子的过程（2015）。我使用逐字戏剧（也称为纪录片戏剧）的方法，研究了记忆和历史的政治，寻找这种戏剧制作方法和舞蹈过程之间的潜在交叉。我的编舞方式基本上是“逐字逐句”的，因为我不断地要求舞者把他们自己的生活经验-通过他们的身体-带入我们创造的舞蹈剧院。在回顾这样的日子（2015年）时，我对自己的编舞进行了批判性的分析（超越了对制作过程的遭遇和分析）。这是一种女权主义行为，回应了知识和力量在运动中的构建和发挥，跳舞的身体：我自己的身体和与我合作的六个舞者的身体。
Abstract This article, which takes on Maurice Merleau-Ponty’s (1962) notion of the body as the prime means of knowing the world, starts with the understanding that we have a body, are a body and become a body. These are key concepts for those, like me, who tell stories with the body – the act of choreography. Arguing for the notion of the embodied ‘I’ and interrogating the politics of autoethnography (see, for example, Holman Jones 2005), this article offers an encounter with my own process of conceptualising and choreographing days like these (2015). Working with Verbatim Theatre (also called documentary theatre) methodologies I looked at the politics of memory and history, for a potential crossover between this theatremaking method and the choreographic process. The way I choreograph is essentially ‘verbatim’ in that I am constantly asking dancers to bring their own life experience – through their bodies – into the dance theatre we create. In looking at days like these (2015) I offer a critical analysis of my own choreography (beyond the encounter and analysis of the process of making). This is done as a feminist act of responding to the constructions and play of knowledge and power within and on the moving, dancing body: both my own body and those of the six dancers with whom I collaborated.