A motivation to move: Juxtaposing the embodied practices of Pina Bausch and Ingemar Lindh

Hdl Handle:
http://hdl.handle.net/10034/552346
Title:
A motivation to move: Juxtaposing the embodied practices of Pina Bausch and Ingemar Lindh
Authors:
Bugeja, Nicola
Abstract:
In their summer newsletter of 1996, the Centre for Performance Research (CPR) announced a workshop retreat to be led by Swedish theatre practitioner Ingemar Lindh at Druidstone in West Wales. The workshop, which was supposed to run in July of 1997, did not happen due to Lindh’s untimely death in Malta a few days before. The announcement described Lindh’s work as ‘oscillating between sensuality, even eroticism, on the one hand, and a kind of choreography of everyday life, similar sometimes to the work of Pina Bausch, on the other’ (CPR 1996, p. 9). Taking the CPR comparison as its cue, this article investigates an overlapping concern between the tanztheater practice of Bausch and the laboratory theatre work of Lindh: that whether called ‘movement’ or ‘action’, a performer’s work needs to be motivated by one’s personal input (memories, thoughts, images, and other mental processes) rather than executed as an estranged and dictated vocabulary of movement. This premise was largely a result of two major influential figures in Bausch’s and Lindh’s careers: Rudolph von Laban and Étienne Decroux. The article starts with a concise contextualisation of a reaction to rigid methodology in both tanztheater and laboratory theatre, i.e. Bausch’s and Lindh’s backgrounds respectively. It then juxtaposes Laban’s and Decroux’s reflections on embodied practice, leading the way to a discussion of the matter in the practices of Bausch and Lindh. To achieve broader understanding, the juxtaposition is supported by a close reading of Rick Kemp’s (2012) and Erika Fischer-Lichte’s (2008) accounts of ‘embodied mind’.
Affiliation:
University of Chester
Citation:
Theatre, Dance and Performance Training, 2015, 6(1), pp. 3-15
Publisher:
Routledge
Journal:
Theatre, Dance and Performance Training
Publication Date:
26-Mar-2015
URI:
http://hdl.handle.net/10034/552346
DOI:
10.1080/19443927.2014.986286
Additional Links:
http://www.tandfonline.com/loi/rtdp20#.VUjBsU10xFo; http://www.tandfonline.com/doi/full/10.1080/19443927.2014.986286#abstract
Type:
Article
Language:
en
Description:
This is an Accepted Manuscript of an article published by Taylor & Francis in Theatre, Dance and Performance Training on 26/3/2015, available online: http://wwww.tandfonline.com/10.1080/19443927.2014.986286
ISSN:
1944-3927
EISSN:
1944-3919
Appears in Collections:
Performing Arts

Full metadata record

DC FieldValue Language
dc.contributor.authorBugeja, Nicolaen
dc.date.accessioned2015-05-06T09:33:41Zen
dc.date.available2015-05-06T09:33:41Zen
dc.date.issued2015-03-26en
dc.identifier.citationTheatre, Dance and Performance Training, 2015, 6(1), pp. 3-15en
dc.identifier.issn1944-3927en
dc.identifier.doi10.1080/19443927.2014.986286en
dc.identifier.urihttp://hdl.handle.net/10034/552346en
dc.descriptionThis is an Accepted Manuscript of an article published by Taylor & Francis in Theatre, Dance and Performance Training on 26/3/2015, available online: http://wwww.tandfonline.com/10.1080/19443927.2014.986286en
dc.description.abstractIn their summer newsletter of 1996, the Centre for Performance Research (CPR) announced a workshop retreat to be led by Swedish theatre practitioner Ingemar Lindh at Druidstone in West Wales. The workshop, which was supposed to run in July of 1997, did not happen due to Lindh’s untimely death in Malta a few days before. The announcement described Lindh’s work as ‘oscillating between sensuality, even eroticism, on the one hand, and a kind of choreography of everyday life, similar sometimes to the work of Pina Bausch, on the other’ (CPR 1996, p. 9). Taking the CPR comparison as its cue, this article investigates an overlapping concern between the tanztheater practice of Bausch and the laboratory theatre work of Lindh: that whether called ‘movement’ or ‘action’, a performer’s work needs to be motivated by one’s personal input (memories, thoughts, images, and other mental processes) rather than executed as an estranged and dictated vocabulary of movement. This premise was largely a result of two major influential figures in Bausch’s and Lindh’s careers: Rudolph von Laban and Étienne Decroux. The article starts with a concise contextualisation of a reaction to rigid methodology in both tanztheater and laboratory theatre, i.e. Bausch’s and Lindh’s backgrounds respectively. It then juxtaposes Laban’s and Decroux’s reflections on embodied practice, leading the way to a discussion of the matter in the practices of Bausch and Lindh. To achieve broader understanding, the juxtaposition is supported by a close reading of Rick Kemp’s (2012) and Erika Fischer-Lichte’s (2008) accounts of ‘embodied mind’.en
dc.language.isoenen
dc.publisherRoutledgeen
dc.relation.urlhttp://www.tandfonline.com/loi/rtdp20#.VUjBsU10xFoen
dc.relation.urlhttp://www.tandfonline.com/doi/full/10.1080/19443927.2014.986286#abstracten
dc.subjectembodiment of mental processesen
dc.subjectLabanen
dc.subjectDecrouxen
dc.subjectBauschen
dc.subjectLindhen
dc.titleA motivation to move: Juxtaposing the embodied practices of Pina Bausch and Ingemar Lindhen
dc.typeArticleen
dc.identifier.eissn1944-3919en
dc.contributor.departmentUniversity of Chesteren
dc.identifier.journalTheatre, Dance and Performance Trainingen
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