Browsing by Author "Montesi, Vanessa"
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- Choreographing as doing historiography. The representation of 1980’s New York in Trisha Brown’s Set and Reset (1983)Publication . Montesi, VanessaIn this paper, I offer an interpretation of Trisha Brown’s Set and Reset (1983) that focuses on the temporal structure of the choreography and unveils it as a representation of 1980’s New York. If, as Godfrey (2007) believes, the methodological freedom accorded to art permits it to find a language capable of representing reality in a way that differs from traditional historiography, then Set and Reset offers a perfect example of this alternative historiography and of dance as a means of accessing history in synchronic and synesthetic fashion.
- Ecologies of dramaturgy in dance creation: a conversationPublication . Montesi, Vanessa; Baird, Haley; Dugan, Dana; Nye, Matthew-Robin; Scialom, Melina; Scott Martone Donde, Christian; Willkie, AngéliqueAngélique Willkie is a a Jamaican-born, Black, cisgender woman dancer and dramaturg. Two parallel interests have gradually emerged over the course of her professional career—the performer’s contribution to the creative process, and the dynamics of the necessarily collaborative operation that is contemporary choreography. The interview with this artist-scholar explores her experiences in the creative process of the dance performance, Confession Publique, for which she occupies the triadic role of dramaturg, dancer and auto-ethnographic researcher. It is a dialogical conversation amongst interdisciplinary artists and researchers of the Dramaturgical Ecologies project (housed at Concordia University, CAN). Beyond an interview, this polyvocal project—centred around themes of agency, dramaturgy, embodiment, and movement—migrated from the physical to the virtual in response to the biopolitical reconfiguration engendered by the COVID-19 pandemic. This transition activated tensions and resonances in the dialogue. The result takes the form of a reflective, performative text crafted through a collective thinking process.
- Meu útero é uma bomba! Antologia zine de poesia e ecofeminismoPublication . Montesi, Vanessa
- Moving across page, stage, canvas: theatrical dance as a form of intermedial translationPublication . Montesi, Vanessa; Fischer, Claudia J.; Ivančić, BarbaraThis thesis examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s choreography for the ESD company Froth on the Daydream (2018), as examples of intermedial translations into dance. In doing so, it proposes a conceptualization of translation through the lens of theatrical dance. In the last decade, the concepts of multimodality and intermediality have prompted a revision of inherited notions of text, language, and translation. This has led translation scholars to stretch their definition of translation so as to include text produced in and through other media, including dance. A number of articles and book chapters from the fields of Dance, Literary, Intermedial and Translation Studies have been published that make the case for the usefulness of the concept of translation for interpreting dance performances. Building on these works, this thesis reverses the question and asks how theatrical dance can help us understand intermedial translation. It does so by mapping the “implicative complex” (Tyulenev, 2010: 241-242) of dance, such as creativity, ephemerality, and the dramaturgy of bodies, onto the realm of translation. The theoretical framework is tested on two very different case studies: Chouinard’s choreography is based on Hieronymus Bosch’s painting The Garden of Earthly Delights, while Geffré’s on Boris Vian’s novel L’Écume de Jours. The methodology combines live attendance at the performances with footage analysis and ethnographic methods such as semi-structured interviews and participant observations. The first case-study focuses on issues of agency in translation, while the second looks at the way in which intermedial translations constitute “performative acts of memory” (Plate and Smelik, 2013: 2), comparing Geffré’s choreography with previous intermedial translations of Vian’s novel into film, opera, and graphic novel. Translation emerges as a creative and corporeal (and therefore political) practice deeply intertwined with issues of memory and struggles for representation. The analysis of the case-studies, together with the theoretical work that precedes it, contributes towards a redefinition of translation within the field of Translation Studies.
- Translating paintings into dance: Marie Chouinard's The Garden of Earthly Delights and the challenges posed to a verbal-based concept of translationPublication . Montesi, VanessaThis paper analyses the transposition of Bosch’s painting The Garden of Earthly Delights (1490-1500) into a contemporary dance performance as an instance of intermedial translation and reflects on the challenges posed by plurisemiotic practices to a verbal-based concept of translation. Situating itself on the breach opened by recent reflections on the need to go beyond Eurocentric conceptualisations in Translation Studies, this paper looks at previous attempts to enlarge the scope of translation theory to encompass non-verbal artefacts. It questions the implications of considering Translation Studies alongside intermediality, and how merging the tools offered by these two disciplines could help us better understand and analyse choreographies such as Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016), and conversely, how similar dance performances, understood as instances of intermedial translation, could help us understand translation as a situated, embodied, and creative practice.