The Demons in a Database: Interrogating ‘Stravinsky the Global Dancer’
The Demons in a Database: Interrogating ‘Stravinsky the Global Dancer’
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数据库中的恶魔：审问“全球舞者斯特拉文斯基”
DOI：
10.3366/drs.2004.22.1.57
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发表时间：
2004
期刊：
影响因子：
0.3
通讯作者：
S. Jordan
中科院分区：
文献类型：
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作者：
S. Jordan
几乎没有争议的是，声称二十世纪舞蹈作曲家的大师是伊戈尔斯特拉文斯基（1882-1971）。然而，一个新的数据库“全球舞者斯特拉文斯基”（乔丹和拉腊因尼古拉斯，2003年）“使我们能够更好地理解这一说法的理由。它详细介绍了超过1，100支舞蹈，并揭示了大量的编舞家（超过640人），他们受到他的音乐的启发和/或用它来建立他们的证书和他们在伟大传统中的地位。因为这里有“在世的世界上最伟大的作曲家”，斯特拉文斯基的音乐节和晚会是通往成功的途径，他的名字保证了观众，事实上，对许多人来说，他的音乐象征着二十世纪本身。斯特拉文斯基发展了一个无可挑剔的舞蹈血统，与迪亚吉列夫和巴兰钦，谁创造了二十世纪芭蕾舞作为一个企业拥抱最令人兴奋的创新跨越艺术的工作关系，另一个谁对许多代表了二十世纪编舞的顶峰。斯特拉文斯基的音乐是“舞曲”，乔治巴兰钦曾说，“音乐的身体跳舞.他指的不仅是为舞蹈创作的乐谱，而且还有为音乐厅创作的好乐谱。编舞家们很快就蜂拥而至，上演斯特拉文斯基的芭蕾舞剧，随着他的新乐谱的出现，他们的速度越来越快，但随着时间的推移，这些逐渐停止了。如果说佳吉列夫的芭蕾舞剧是一种形成性的形式，那么斯特拉文斯基现在更容易转向其他形式。编舞们紧随其后。到今天，几乎所有斯特拉文斯基的乐谱都被用于舞蹈。
Hardly controversial is the claim that the colossus of twentieth century dance composers is Igor Stravinsky (1882-1971). However, a new database 'Stravinsky the Global Dancer' (Jordan and Larraine Nicholas, 2003)' enables us better to understand the grounds for this claim. It details over 1,100 dances to his scores and it reveals a mass of choreographers (over 640) who have been inspired by his music and/or who have used it to establish their credentials and their place in the grand tradition. For here was 'the world's greatest living composer', Stravinsky festivals and evenings a route to success, his very name guaranteeing audiences and, indeed, for many, his music symbolised the twentieth century itself. Stravinsky developed an impeccable dance pedigree, working relations with Diaghilev and Balanchine, the one who created twentieth century ballet as an enterprise embracing the most exciting innovations across the arts, the other who for many represents the pinnacle of twentieth century choreography. Stravinsky's music is 'musique dansante', George Balanchine used to say, 'music for the body to dance to ... the floor for the dancer to walk on'.2 He meant not only the scores commissioned for dance, but also a good number composed for the concert hall. Choreographers soon flocked to stage Stravinsky's ballets, and with increasing rapidity as his new scores appeared, but as the years progressed, these gradually stopped. If the Diaghilev ballet commissions were formative, now Stravinsky turned more readily to other forms. The choreographers followed in hot pursuit. By today, practically every Stravinsky score has been used for dance.