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在缺乏舞谱、乐谱及见证观众的情况下,本文作者运用舞蹈史的方法重现玛莎·格莱姆1935年首演的《至高的手势》(Imperial Gesture)。在本文中,作者把这部作品放置在动荡的20世纪30年代的大背景之下,将其看作格莱姆作为一个艺术家和普通公民的自身经验的回应,这种回应源自政治上的驱动。作者以此为基础,探讨了重现格莱姆这部独舞作品的过程。此外,作者还参考当时评论界的评价和观察,讨论了三十年代玛莎·格莱姆美学实践方面的转向。作者还讨论了与玛莎·格莱姆合作的芭芭拉·摩根(Barbara Morgan),她为《至高的手势》拍摄了三十二幅照片,成为作者最重要的资料来源。最后,作者还描述了用于研究和重建这部作品的跨学科方法——多位艺术家、多个视角和专业方向之间的合作。
In the absence of music, scores and witness audiences, the author uses the dance history approach to reproduce Martha Graham’s 1935 debut “Imperial Gesture.” In this article, the author places the work in a turbulent 1930s background as a response to Gramm’s own experience as an artist and ordinary citizen, a response that comes from the political drive. Based on this, the author explores the process of reproducing Graumans solo works. In addition, the author reviews the reviews and observations of critics at that time to discuss the changes in the aesthetic practice of Martha Graham in the 1930s. The author also discusses Barbara Morgan, working with Martha Graham, who has taken thirty-two photos of “supreme gestures” as the most important source of information for the author. Finally, the author describes the interdisciplinary approach used to research and rebuild the work - multiple artists, multiple perspectives and professional collaborations.