12, 145–157. New York: Routledge.Find this resource: Smith, Terry. It still resounds, however, with the restance of that which it does not retrieve. in advance” the choreographic present (Chapter 8).7 In a reversal of Walter Benjamin’s thought image (or in fact, movement image) of the Angelus Novus, whose gaze is directed toward a (catastrophic) past while he is driven toward a future that lies behind his back, reenactments are facing the future in its double shape as both past and present futurity; yet at the same time, going backward, they also recede from it. (24) The 1963 Interview: Sonic Bodies, Seizures, and Spells, Reenactment, Dance Identity, and Historical Fictions, Bound and Unbound: Reconstructing Merce Cunningham’s Crises, The Motion of Memory, the Question of History: Recreating Rudolf Laban’s Choreographic Legacy, To the Letter: Lettrism, Dance, Reenactment, Letters to Lila and Dramaturg’s Notes on Future Memory: Inheriting Dance’s Alternative Histories, Not Made by Hand, or Arm, or Leg: The Acheiropoietics of Performance, Pedagogic In(ter)ventions: On the Potential of (Re)enacting Yvonne Rainer’s Continuous Project/Altered Daily in a Dance Education Context, What Remains of the Witness? 2009. Following Rebecca Schneider, to refer to the live acts of bodily movement as archival findings or documents unsettles the distinction between documents on the one side and performance acts on the other. (23) (p. 609) Synonyms (Other Words) for Postface & Antonyms (Opposite Meaning) for Postface. A postscript at the end of a letter adds additional remarks It can't in so far as the hypothesis of an afterword to deconstruction assumes that the discourse of deconstruction has the form of a concluded, closed-off totality, a book, the great Book after which and outside which a postface or Archival performances of the body-as-document are visually or textually recorded in turn, making documentation a genuine part of the performative event.8. The Afterword lists issues that the Panel feels should be addressed as part of this review. Définition de postface dans le dictionnaire français en ligne. See Terry Smith, “Contemporary Art and Contemporaneity,” Critical Inquiry 32(4) (2006): 681–707. See Franko, Chapter 24, in this volume. Choreographie als historiografische Praxis (Bielefeld: Transcript, 2016), 220 (my translation). They have an “investigative dimension [ . Antonymes [modifier le wikicode] préface Dérivés [modifier le wikicode] postfacier Traductions [modifier le] Unmarked: The Politics of Performance. The question of the here and now is explicitly enacted in dissemination). Conversely, the post of the postface might then ideally (or ludicrously) attempt to make the past present, representing that which has already been written, drawing it closer, breathing it in, but also, by returning to it, assigning it its place in a “there.” “Is not the question of the ‘there’ the ultimate question of reenactment?” Mark Franko asks in Chapter 24 of this volume. (p. 617) but who is not the chief author of a work Author of dialog [aud] A person or organization responsible for the dialog or spoken commentary for a screenplay or sound recording Author of introduction, etc. Postfaces are quite often used in books so that the non-pertinent information will appear at the end of the literary work, and postface \pɔst.fas\ féminin Conclusion ou avertissement placé à la fin d’un livre. But its supplementary character also bears a promise, questioning notions of realness, originality, and timeliness. The postface—or afterword—is an untimely genre. Postface Postface Même si ces paroles ne sont pas toutes les expressions de Dieu, elles suffisent pour que les hommes réalisent les objectifs de la connaissance de Dieu et un changement de tempérament. Likewise, a historical choreography will not remain unaffected by its reconstruction or reenactment. Postface | Afterword. Over 100,000 English translations of French words and phrases. Reenactment testifies to a new sense of agency in relationships with the past. Geschichtstheoretische Überlegungen zur tanzwissenschaftlichen Forschung,” Forum Modernes Theater 23/1 (2008), 5–12. Postscript. Rather, the archival structure facilitated—and still facilitates for us—that which appears to have been the project’s initial driving momentum. Choreographie als historiografische Praxis. (p. 615) It is therefore a privileged space for conversation between dancers (who are often also researchers) and researchers (who are often also dancers), which is evident in the selection of contributors to this volume who share an interest in questions of revitalization and return from various practical and discursive positions. An afterword is imbued with the generic flaw of the supplement, of that which remains exterior to “real,” “original,” or “timely” contents. Performing Remains: Art and War in Times of Theatrical Reenactment. Kentridge’s The Refusal of Time “questions time regimes that support a chronological, modernist conception of time and (dance) history,” writes Stalpaert, making us aware of this performance’s repercussions on our understanding of historiography (Chapter 19 in this volume). Basingstoke, UK: Palgrave Macmillan.Find this resource: Freud, Sigmund. “For the postface,” Gérard Genette writes in Paratexts, “it is always both too early and too late” (1997, 239). Hannover: Wehrhahn.Find this resource: Genette, Gérard. Select the type of … . ] further historical understanding’, precisely because of its ‘emphasis on affect’ ” (Agnew, cited in Chapter 3).” But De Laet also asserts that the focus on affect alone does not capture the self-reflective dimension of new archival performance:12 “The common equation of reenactment in dance with a search for affect has fostered a rather one-sided perspective that disregards how it also stimulates epistemic faculties and provokes critical reflection on how it is we come to know the past.”. London: The Athlone Press.Find this resource: Fischer-Lichte, Erika. (6) What is more, its own conceptual work of the “re-” also follows this logic.1 Reenactments remain marked by the resistant Franko notes in Chapter 1 that the artistic field of reenactment engenders a multifold vocabulary, including “re-performance, remake, citation, the distributed body, alternative histories, acheiropoietics, restructuring touch, re-actualization, the derivative, cover”; in Chapter 14, VK Preston extends this field to a heuristic reenacting of archival material by the scholar, which she calls “research-spectatorship.” The heuristic and the performative are closely aligned in reenactment. If the discipline of history, as Michel Foucault has it, was for a long time deemed to be “a practice disengaged from the present,” reenactment’s allegiances to the body’s here and now would preclude that it can act on this discipline’s behalf. postface - … As we have seen, reenactment redefines the notion of the archive, or, In Freud, however, conscious remembering cannot happen in the “motor sphere,” which is the site where unconscious impulses are repetitively acted out or “discharge[d] in action.” In the Freudian setting, remembering must take place in the “psychical field” Afterword. OLR-50-3-07-Postface-_-Afterword-Final. “Re-creation” is the term that Roller chose for his project. Taking into account current archival theories, this notion has a literal and a metaphorical dimension; it implies both “a body of documents and the institutions that house them” and “a metaphoric invocation for any corpus of selective collections and the longings that the acquisitive quests for the primary, originary, and untouched entail” (Stoler 2009, 45). (17) Körper als Archiv in Bewegung. (11) Define postface. 2006. His project website is organized along ten levels, including different themes such as genealogies of Bodenwieser technique, the aesthetic of danced expressionism, Bodenwieser’s status as refugee, her movement material, and also one level crucially entitled “The Non-Reconstruction.” All themed levels contain twelve documents: photographs, interviews with witnesses, discussions among Roller’s recreation team, historical letters and descriptions of performances, program leaflets, and video clips of rehearsals and classes in Bodenwieser technique. . ] Urobuchi Gen  Urobuchi Gen wants to write stories that can warm people's hearts. The preface or outwork of Derrida’s Dissemination includes the following passage: The pre of the preface makes the future present, represents it, draws it closer, breathes it in, and in going ahead of it puts it ahead. Arnaud Blin, Gustavo Marin ¤ 5 December 2009 ¤ Translations: français (original) . Wehren explores the historiographical aspects of current performance practice by Olga de Soto, Foofwa d’Imobilité, Thomas Lebrun, and Boris Charmatz and argues that “their choreographic rethinking of history […] represents dance history in meaningful and adequate ways,” in Körper als Archiv in Bewegung. Sens du mot. It is the fanning-out and complicating of this question that makes the theoretical and conceptual approaches that are assembled in this Handbook so rich and engaging. For a complementary discussion of The Source Code, see Sabine Huschka (Chapter 30) in this volume. “Making Time: Temporality, History, and the Cultural Object.” New Literary History 46: 361–386.Find this resource: Caruth, Cathy. This will to archive has much in common with what Sigmund Freud, who devoted himself to the ways in which individual, unconscious pasts can be made available for analysis, calls “working-through,” a mode of conscious remembering and appropriation of former experience that he contrasts to an unconscious mode of compulsive repetition. Pakes; see also Huschka’s chapter in this volume. Find this resource: (1) “Introduction.” New Literary History 42: vii–xii.Find this resource: Wehren, Julia. The postface can be written by the author of a document or by another person. (Chapter 6), What, then would be the direction latent in the artistic field of reenactment, and how can we pull it further? . Another purpose is to respond to critical remarks made about a … Thank you for contributing Congrats! Le terme « utopie », du grec ancien ouâtopos (« nonâlieu » ou « en aucun lieu »), désigne littéralement un lieu qui nâexiste pas. The book includes an afterword by Deputy Minister of Foreign Affairs Gaëtan Lavertu. Reenactments are anti-positivistic and skeptical about accurate reconstructions of the past, but they also work toward new forms of approaching historical knowledge. By casting a black performer and filmically intervening into a canonical dance piece, Kentridge may not rewrite, but does revisualize a prominent example of Western dance heritage, repossessing it to powerful effect for those whom this heritage excluded. In this light, the phenomenon of reenactment cannot be firmly pinned down by the semantics of its vocabulary. Such other, unprecedented realities emerge in Elswit’s and Nair’s reenactment of Kurt Jooss’s gift to Swedish-based Indian dancer Lilavati Häger, and in Beyoncé’s “borrowing” of movement material by Anne Teresa De Keersmaeker, as discussed in Chapter 18 by Anthea Kraut;20 they arise in Randy Martin’s “logics of derivation” which he detects in Trisha Brown’s postmodern dance, in breakdancing, and in skateboarding (Chapter 28), and in Janez Janša’s subversive reappropriation during the 2007 Exodos Festival in Ljubljana of canonical contemporary dance works from the United States, Germany, and Japan.21 They can be witnessed in Ecuadorian Fabián Barba’s “illusions of authenticity” when performing Mary Wigman’s dances (Chapter 20), and in Richard Move’s “sonic incarnations” of Martha Graham (Chapter 4). Here Dada Masilo’s reenactment of Loïe Fuller’s Serpentine Dance, which is shown in reverse, literally re-embodies time, showing how to perform it otherwise.5. It was a great honour for Norway to host the 6th World Congress Against the Death Penalty. Prononciation de postface définition postface traduction postface signification postface dictionnaire postface quelle est la définition de postface . Auslander, Philip. You've got the pronunciation Afterword is a see also of postface. See Ketu H. Katrak and Anita Ratnam (Chapter 15) in this volume. 2. A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. “Introduction: Interweaving Performance Cultures—Rethinking ‘Intercultural Theatre:’ Toward an Experience and Theory of Performance Beyond Postcolonialism.’” In The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, edited by Erika Fischer-Lichte, Torsten Jost, and Saskya Iris Jain, 1–24. Carrie Noland in Chapter 6 considers Jennifer Goggans’s 2014 reconstruction of Merce Cunningham’s Crises (1960) part of the larger aesthetic realm of reenactment, and she explores how this reconstruction by a dancer with intimate knowledge of the original directs attention to affective and dramatic potentials that are usually denied in approaches to Cunningham’s choreography.10 Noland also argues that a reconstruction like Goggans’s brings to the fore choreographic processes that show how ostensibly originary or even totalitarian agencies—a choreography that is imposed onto dancers’ bodies, a source piece that determines its reconstruction—are shaped by that which they might seem to govern. Over 100,000 English translations of French words and phrases. In addition, arguing for a globally interconnected dance history means acknowledging that dance brings together not only multiple times, but also multiple places; one might think of spatialized histories, and also of a “poetics of space and time” (Chapter 24). PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). However, the lens of reenactment also casts new light on dance forms that are not necessarily associated with the theoretical outlook of this term, such as the thirteenth-century ritual dance theater Kaisika Natakam, whose restagings are explored by Ketu H. Katrak and Anita Ratnam in Chapter 15.22 Anurima Banerji in Chapter 21 introduces the philosophical, performative, and spatial distribution of the dancer’s body in the Indian mahari naach, which cannot be reproduced in this dance’s reenactment in the shape of Odissi.23 Here, the acknowledgement of reenactment theory draws out impossibilities, rather than possibilities, of reproduction across historical gaps. The afterword can be thought of as being in the same family as the preface and introduction. Le livre est suivi d'une postface de Gaëtan Lavertu, sous-ministre des Affaires étrangères. It generally covers the story of how the book came into being, or of how the idea for the book was developed. One is struck at once by the clearer arrangement of the book. “The Performativity of Performance Documentation.” Performance Art Journal 84: 1–10.Find this resource: Born, Georgina. Testimony as Epistemological Category: Schlepping the Trace, Baroque Relations: Performing Silver and Gold in Daniel Rabel’s Ballets of the Americas, Reenacting Kaisika Natakam: Ritual Dance-Theater of India, Gloriously Inept and Satisfyingly True: Reenactment and the Practice of Spectating, Blasting Out of the Past: The Politics of History and Memory in Janez Janša’s Reconstructions, Reenacting Modernist Time: William Kentridge’s The Refusal of Time, Quito-Brussels: A Dancer’s Cultural Geography, Dance and the Distributed Body: Odissi and Mahari Performance, Choreographic Re-embodiment between Text and Dance, Affect, Technique, and Discourse: Being Actively Passive in the Face of History: Reconstruction of Reconstruction, Epilogue to an Epilogue: Historicizing the Re- in Danced Reenactment, The Time of Reenactment in Basse Danse and Bassadanza, Time Layers, Time Leaps, Time Loss: Methodologies of Dance Historiography, (In)Distinct Positions: The Politics of Theorizing Choreography, Scenes of Reenactment/Logics of Derivation in Dance, A Proposition for Reenactment: Disco Angola by Stan Douglas, Dance in Search of Its Own History: On the Contemporary Circulation of Past Knowledge. A postface is a text added to the end of a book or written as a supplement or conclusion, usually to give a comment, an explanation, or a warning. A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. (p. 610) The postface presents information that is not essential to the entire book, but which is considered relevant. A person or organization responsible for an afterword, postface, colophon, etc. This sense of agency is representative of a larger shift in theoretical concerns. afterword (redirected from afterwords) afterword a concluding section, commentary, etc. (18) Making complex the question of “thereness” in reenactment, restance thus forces us to think about the politics of outspoken and unspoken retrieval.4, If the vocabularies of reenactment are unstable, multiple, and open to new additions, so too are reenactment’s temporalities. Julia Wehren echoes Thurner’s position. See Philip Auslander, “The Performativity of Performance Documentation,” Performance Art Journal 84 (2006): 1–10; Amelia Jones: “‘Presence’ in Absentia: Experiencing Performance as Documentation,” Art Journal 56 (Winter 1997): 11–18; see also my discussion of Jochen Roller’s The Source Code later in this afterword. Restance affects reenactments in various ways. as some contributors to this volume argue, sets an anarchival practice against an archival one. Styles of movement, dance pieces, and dancers migrate; forms of dance Schneider, Rebecca. Afterword to âJesus was Caesarâ The territory in which the new Christian religion spread two thousand years ago can be defined as the Imperium Romanum. It can be most powerful if construed as an advertent effect of latency, as in Stan Douglas’s fictional histories that are the object of his photographs for Disco Angola (2012).2 Catherine Soussloff writes in Chapter 29 that actual history, the fact that “Angola descended into a perpetual battlefield, while disco was impugned for its commercialization and ‘bad’ music,” is left out in Douglas’s utopian reenactments, thus making obvious the constructed nature of Disco Angola’s redemptive élan, and its politically motivated refusal to reactivate the historical past.3 In this case, such a refusal must be seen as an emancipatory act. If the book has gone through multiple printings, the writer might discuss things that occurred since the initial printing. (2014, 12–15). Or, in the words of performance scholar João Florêncio, member of the new Future Advisory Board of Performance Studies International, “at a critical time when so much of what has heretofore been taken for granted is melting, burning or fading away, rethinking the future is of the utmost urgency [italics added].”6 Those who create, think, and comment about danced reenactments contest the presumed untouchable nature of the future, even when accepting the limits of their projections; and they doubt the presumed knowability of the past, even when piecing it together or reconstructing it. The aesthetic of the reconstructor, the kinetic particularities of the dancers, and the attitude of the contemporary audience all pull the choreography further in a direction latent in the choreography. Here the deliberate neglect of the fascist aspect and context of Laban’s work leads to restance of a more haunting nature. This process met with success because after three centuries the late Roman emperor Constantine the Great made Christianity the official cult of the state. (Hannover: Wehrhahn, 2014). 2014. Geschichtstheoretische Überlegungen zur tanzwissenschaftlichen Forschung.” Forum Modernes Theater 23(1): 5–12.Find this resource: Lepecki, André. London: Routledge.Find this resource: Phelan, Peggy. Danced reenactment takes to task Freud’s theory. 1997. By contrast, restance can have a more problematic value when operating inadvertently, as revealed by Susanne Franco’s discussion in Chapter 7 of Valerie Preston-Dunlop’s “recreations” of Rudolf Laban’s choreographies. They accept that there is “an impossible element” within their efforts, Gerald Siegmund writes in Chapter 23, but they also take on the challenge and joy of hybrid temporality. © Oxford University Press, 2018. English Translation of “postface” | The official Collins French-English Dictionary online. In Chapter 30, Sabine Huschka speaks of a “staged act of activated memory,” emphasizing that we do not aim to approach the truth of the past, but rather appropriate a mediated—and therefore precisely not immediate—version of it;13 and we do so to create specific effects, restoring a certain operative dimension to that which is (no longer) gone. There is also a commentary function that highlights cross-references between the documents. postface - traduction français-anglais. but who is not the chief author of a work The word “postscript” generally refers to letter-writing, whereas “epilogue” refers to books and plays. is associated with capitalism and colonialism. .” As Christel Stalpaert’s discussion of William Kentridge’s video installations in Chapter 19 shows, such an approach to temporality might constitute a strategic statement, refusing clock time that Roller’s digital archive opens up this heritage again, allowing it to travel back to Austria, Germany, and beyond. “Worlding Dance: An Introduction.” In Worlding Dance, edited by Susan Leigh Foster, 1–14. Post- and prefaces belong to what Jacques Derrida calls the hors livre or “outwork,” those texts or not-quite texts that dwell at the margins of what is usually considered the main body of a book. You could not be signed in, please check and try again. This is an essential and ludicrous operation: not only because writing as such does not consist in any of these tenses (present, past, or future insofar as they are all modified presents); not only because such an operation would confine itself to the discursive effects of an intention-to-mean, but because, in pointing out a single thematic nucleus or a single guiding thesis, it would cancel out the textual displacement that is at place “here.” (Here? Translated by James Strachey, vol. Postface 2017-02-25T11:08:27+00:00 After. As an embodied practice, it is also always more than metaphorical. Paratexts: Thresholds of Interpretation.  It generally covers the story of how the book came into being, or of how the idea for the book was developed. See Kate Elswit (Chapter 9) and Anthea Kraut (Chapter 18) in this volume. The notion of reenactment itself is not concerned to convey a definitive viewpoint on what is still a very diverse phenomenon. 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