Dance As Intermedial Translation

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Cover Table of Contents List of Figures Figure 1: Still from choreography The Statement by Crystal Pite (2020). Courtesy of Aichi Prefectural Art Theater © Naoshi Hatori Figure 2: Sculpture Petite danseuse de quatorze ans, by Edgar Degas (1921-1931). Courtesy of Musée d’Orsay, Dist. RMN-Grand Palais Patrice Schmidt Figure 3: Drawing Dance Curves: On the Dances of Palucca, Kandinskij (1926) Figure 4: Still from choreography Formosa by LIN Hwai-min. Courtesy of HSU Ping Figure 5: Still from choreography Synchronous Objects, William Forsythe (2000) Figure 6: Still from choreography Golem by Carly Lave (2019) Courtesy of Willow Hamilton Figure 7: Still from Scores for Daily Living, by Emma Waltraud Howes (2019). Courtesy of Valeriya Titova Figure 8: Artwork Ni Pena Ni Miedo by Raúl Zurita (1993). Courtesy of Guy Wenborne Figure 9: Still from choreography Human Writes, by Willian Forsythe (2011). Courtesy of Dominik Mentzos Figure 10: Photograph Mains d’Ecrivaines Echenoz Jean, by Anne Hassouline (2000). Courtesy of Anne Hassouline Figure 11: Photograph Mains d’Ecrivaines Ellroy James, Anne Hassouline (2011). Courtesy of Anne Hassouline Figure 12: Photograph Georgia O’Keeffe (Hands), by Alfred Stieglitz (1918-1919) Figure 13: Still from performance How to be an american; lesson 1, by Rabbya Naseer (2009). Voice credits: Monika Nikolai Figure 14: Photographs of drawn notes of the choreography Jérôme Bosch Le Jardin des Délices by Marie Chouinard (2016) Figure 15: Still from performance Jérôme Bosch: Le Jardin des Délices, by Marie Chouinard (2016) Figure 16: Painting The Garden of Earthly Delights, outer panels, by Hieronymus Bosch (1490-1510). Courtesy of Museo del Prado. © Archivo Fotográfico Museo Nacional del Prado Figure 17: Painting The Garden of Earthly Delights, Hieronymus Bosch (1490-1500) Courtesy of Museo del Prado © Archivo Fotográfico Museo Nacional del Prado Figure 18: Still from choreography Jérôme Bosch: Le Jardin des Délices, by Marie Chouinard (2016) Figure 19: Painting The Seven Deadly Sins and the Four Last Things, by Hieronymus Bosch (1505-1515). Courtesy of Museo del Prado Figure 20: Still from Prélude à l’Après-midi d’un Faune, by Compagnie Marie Chouinard (1994) Figure 21: Still from Jérôme Bosch: le Jardin des Délices, by Compagnie Marie Chouinard (2016) Figure 22: Painting Black Peony, by Cai Guo-Qiang, (2008). Courtesy of Cai Guo-Qiang Figure 23: Painting Summer, by Cai Guo-Qiang (2014) Courtesy of Cai Guo-Qiang Figure 24: Chloé and the street cleaner wear matching colours. Still from movie L’Écume des Jours by Charles Belmont (1968) Figure 25: Chloé and the street cleaner dance le biglemoi. Still from the movie L’Écume des Jours by Charles Belmont (1968) Figure 26: Front Page of L’Écume d’ Écume des Jours by Benoit Preteseille (2005) Figure 27: The lingering effects of dance on bodies and breath. Photograph of L’Écume d’ Écume des Jours by Benoit Preteseille (2005) Figure 28: Le Biglemoi and examples of grammatextuality. Photograph of L’Écume d’ Écume des Jours by Benoit Preteseille (2005) Figure 29: Le Biglemoi. Photograph of L’Écume d’ Écume des Jours by Benoit Preteseille (2005) Figure 30: Chloé’s dress. Photograph of L’Écume d’ Écume des Jours by Benoit Preteseille (2005) Figure 31: Alise’s dress.Photograph of L’Écume d’ Écume des Jours by Benoit Preteseille (2005) List of Text Boxes Text box 1: Pierce’s semotic triangle Text box 2: Basic media, qualified media, ad technical media Text box 3: Wolf’s narremes Text box 4: Lefevere’s constraints of translation Text Box 5: Extended mind, distributed cognition and distributed agency List of Tables Table 1: Interlingual and Intermedial translations of L’Écume des Jours Acknowledgements Prelude: Setting Words in Motion Three Anecdotes… …and an Introduction OFFSTAGE 1. Stretching Ways of Stretching What about Dance? Theoretical Grounding: Multimodal Social Semiotics and Intermediality 2. Rehearsing Dance and the Visual Arts Dance and Language Dance and Literature Dance and Translation Transition TROIS COUPS 3. What’s in a Name? O’, Be Some Other Name!34 ‘Tis but thy Name that is my Enemy!36 What’s in a Name? Deny thy Father, and Refuse thy Name44 4. Words Written in the Air: Dance as Ephemeral Writing How Can We Know the Dancer from the Dance? We Need to Know the Dancer from the Dance Can We Know the Dancer from the Dance? Why Should We Know the Dancer from the Dance? 5. Translated/Translating Bodies and the Translator’s Embodied Dramaturgy The Dancer’s Embodied Dramaturgy Translated Bodies The Translator’s Embodied Dramaturgy Interlude Methodology and Methods Embodied Ethnography and Embodied Writing PERFORMING 6. Translational Agency in Jérôme Bosch: Le Jardin des Délices Jérôme Bosch: Le Jardin des Délices (2016) Political Agency in Dance and Translation 7. Distributed Agency in Jérôme Bosch: Le Jardin des Délices Translating the Painting into Somatic Sensations Distributed Agency Spatial and Discursive Framings: The Garden of Earthly Delights at the Gallery of Nassau Spatial and Discursive Framings: Jérôme Bosch: Le Jardin des Délices at the CCB 8. Translation and Memory in Froth on the Daydream (2018) Translation and Memory Studies Boris Vian: Living and Writing in the Translation Zone Translation History of L’Écume des Jours Froth on the Daydream (2018): Offstage Froth on the Daydream (2018): Performing 9. Translations and Memories of L’Écume des Jours Cracks in the color-blind image of Paris: Belmont’s L’Écume des Jours (1967) Performing the Imaginative West in Late Soviet Russia: Denisov’s Chloé (1981) From Surrealism to Magic(al) Realism: Gô Rijû’s Kuroe (2001) Performing the Materiality of Bodies and Graphic Line: Preteseille’s L’Écume d’Écume des Jours (2005) Inheriting French Surrealist Cinema: Michel Gondry’s Mood Indigo (2013) After the tide has gone, what remains? Translation and/as Memory Postlude: Unwinding Three Anecdotes… …and a Conclusion Appendixes Notes References