Titlebook: Dance, Performance and Visual Art; Intersections with M Linda E. Dankworth,Henia Rottenberg,Deborah Willia Book 2024 The Editor(s) (if appl

Ligneous

across today’s post-Brexit Europe, itself burdened with austerity, the upsurge of local nationalisms, xenophobias, and a new war (in Ukraine). This chapter explores ways in which Hats Theatre used its aesthetic to produce sustainable multimedia art, subtly inscribing its social reality. I argue that

cajole

duals entrusted with imparting knowledge of Cunningham’s repertoire and restaging it for an international dance community. Dance companies were not authorised to perform his repertoire until after the initiation of the Legacy Plan by members of the Cunningham Dance Foundation in 2009. One question a

違法事實(shí)

Obstacle

盲信者

coalition

Fierce

虛情假意

re, video, digital design, and photography. The cross-fertilization produces new encounters and forms of knowledge that reflect national, cultural, social, political, and historical issues. The chapters are all written by experts in their field, whether they are anthropologists, artists, dance studi

心痛

examine the political implications of the conscious appropriation of material from visual art into contemporary dance. As Walter Benjamin argues, when “the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritu

Inertia

bending multimedia amalgam of “music-dance-comic book-performance”. Hats Theatre was active between 1993 and 2006, during the period of major socio-political unrest in the region, burdened by the great austerity and civil war, induced by the breakdown of Yugoslavia. The company was conceptualised by