{"id":552,"date":"2018-04-27T09:40:30","date_gmt":"2018-04-27T00:40:30","guid":{"rendered":"http:\/\/www.nanakonakajima.com\/?p=552"},"modified":"2020-04-13T22:07:42","modified_gmt":"2020-04-13T13:07:42","slug":"dance-dramaturgy-modes-of-agency-awareness-and-engagement","status":"publish","type":"post","link":"http:\/\/www.nanakonakajima.com\/?p=552","title":{"rendered":"&#8220;Dance Dramaturgy: Modes of Agency, Awareness and Engagement&#8221; [UPDATES]"},"content":{"rendered":"<p>\u30c0\u30f3\u30b9\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30ae\u30fc\u306b\u95a2\u3057\u3066\u3001\u3053\u308c\u3060\u3051\u306e\u9818\u57df\u3068\u624b\u6cd5\u3001\u5730\u57df\u3092\u30ab\u30d0\u30fc\u3059\u308b\u306e\u306f\u521d\u3081\u3066\u3068\u306a\u308b\u66f8\u7c4d\uff08<a href=\"http:\/\/www.amazon.com\/dp\/1137373210\/ref=cm_sw_r_fa_awdo_Wkluvb177QCY7\">&#8220;Dance Dramaturgy: Modes of Agency, Awareness and Engagement&#8221;<\/a>\uff09\u304c\u3001Palgrave\u51fa\u7248\u304b\u3089\u520a\u884c\u3055\u308c\u307e\u3057\u305f\u3002\u00a0\u79c1\u3082NY\u30c0\u30a6\u30f3\u30bf\u30a6\u30f3\u30c0\u30f3\u30b9\u306e\u632f\u4ed8\u5bb6\u30fb\u30c0\u30f3\u30b5\u30fc\u3067\u3042\u308b\u30af\u30b7\u30eb\u30b8\u30e3\u30fb\u30db\u30ef\u30f3\u30b0\u3055\u3093\u3068\u30cb\u30e5\u30fc\u30e8\u30fc\u30af\u30b8\u30e3\u30d1\u30f3\u30bd\u30b5\u30a8\u30c6\u30a3\u3067\u4e0a\u6f14\u3057\u305f\u30e1\u30c7\u30a3\u30a2\u30d1\u30d5\u30a9\u30fc\u30de\u30f3\u30b9\u3001mech[a]OUTPUT\uff082007\uff09\u3067\u306e\u3001\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30af\u3068\u3057\u3066\u884c\u3063\u305f\u5b9f\u308a\u591a\u3044\u30af\u30ea\u30a8\u30fc\u30b7\u30e7\u30f3\u30d7\u30ed\u30bb\u30b9\u306b\u3064\u3044\u3066\u3001\u30c6\u30af\u30b9\u30c8\u3092\u5bc4\u7a3f\u3057\u3066\u3044\u307e\u3059\u3002\u4ed6\u306b\u3082\u3001\u30a2\u30f3\u30c9\u30ec\u30fb\u30ec\u30da\u30c3\u30ad\u3084\u30de\u30a2\u30a4\u30b1\u30fb\u30d6\u30ea\u30fc\u30ab\u30fc\u306a\u3069\u3001\u6c17\u92ed\u306e\u30c0\u30f3\u30b9\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30af\u517c\u30c0\u30f3\u30b9\u7814\u7a76\u8005\u304c\u3001\u8457\u8005\u3068\u3057\u3066\u540d\u3092\u9023\u306d\u3066\u3044\u307e\u3059\u3002\u51fa\u7248\u793e\u3067\u306e\u30c0\u30f3\u30b9\u5206\u91ce\u30d9\u30b9\u30c8\u30bb\u30e9\u30fc\u3068\u306a\u308a\u3001\u73fe\u5728\u306f\u30a2\u30e1\u30ea\u30ab\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30af\u5354\u4f1a\u306e\u30c0\u30f3\u30b9\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30ae\u30fc\u306e\u30c6\u30af\u30b9\u30c8\u30d6\u30c3\u30af\u3068\u3057\u3066\u4f7f\u308f\u308c\u3066\u3044\u307e\u3059\u3002\u305c\u3072\u56f3\u66f8\u9928\u3001\u7814\u7a76\u5ba4\u306a\u3069\u306b\u4e00\u518a\u3001\u304a\u8cb7\u3044\u6c42\u3081\u4e0b\u3055\u3044\u3002\u4ee5\u4e0b\u306b\u3001\u5404\u7d19\u3067\u306e\u66f8\u8a55\u3082\u63b2\u8f09\u3057\u307e\u3057\u305f\u3002<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-553 alignright\" src=\"http:\/\/www.nanakonakajima.com\/wp-content\/uploads\/2015\/05\/Unknown.jpeg\" alt=\"Unknown\" width=\"221\" height=\"346\" srcset=\"http:\/\/www.nanakonakajima.com\/wp-content\/uploads\/2015\/05\/Unknown.jpeg 221w, http:\/\/www.nanakonakajima.com\/wp-content\/uploads\/2015\/05\/Unknown-192x300.jpeg 192w\" sizes=\"auto, (max-width: 221px) 100vw, 221px\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"font-size: 1rem;\">OUR PUBLICATION in Dance Dramaturgy<\/span><\/p>\n<p style=\"text-align: justify;\">I contribute one article to this upcoming publication entitled <a href=\"http:\/\/www.amazon.com\/dp\/1137373210\/ref=cm_sw_r_fa_awdo_Wkluvb177QCY7\">&#8220;Dance Dramaturgy: Modes of Agency, Awareness and Engagement&#8221;<\/a>, in which I discuss our creative and teaching\/learning process of movement and my dramaturgical thinking with a NY-based choreographer koosil-ja during her media performance of &#8220;mech[a]OUTPUT&#8221; (2007) at the NY Japan Society. This book covers the broad range of methods and perspectives in dance dramaturgy and I am delighted to be with other inspiring authors together. Please order our book for your libraries and offices.<\/p>\n<p style=\"text-align: justify;\">Here are the reviews on this publication:<\/p>\n<ul style=\"text-align: justify;\">\n<li>&#8220;Dance Dramaturgy: Modes of Agency, Awareness and Engagement&#8221; Reviewed by Lise Uytterhoeven,\u00a0In: <em>Theatre Research International<\/em>. Oct 2016, Vol. 41 Issue 3, p283; Cambridge University Press\u00a0doi: 10.1017\/S0307883316000493<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><span class=\"Apple-converted-space\">&#8220;<\/span>The editors and authors skillfully historicize the turn-of-the-millennium discourses\u00a0on dance dramaturgy, which were characterized by a sense of anxiety about the power\u00a0relationships in choreographer\u2013dramaturg collaborations&#8230;.Each contributor highlights different ways in which the\u00a0field itself creates new paradigms to guide both scholarly discourse and creative practice,\u00a0in an attempt to continue to liberate these from the limits of binary thinking. Not relying\u00a0on a stable dramatic text to shape the creation, the dance-makers contributing to and\u00a0discussed in the book propose new ways of conceptualizing the creative process in dance\u00a0dramaturgy.&#8221;<\/p>\n<ul style=\"text-align: justify;\">\n<li>\u00a0&#8220;Dance Dramaturgy: Expanding the Discourse.&#8221; Reviewed by Synne Berndt. In:\u00a0<em>Canadian Theatre Review. <\/em>Summer2016, Issue 167, p76-78. 3p. DOI: 10.3138\/ctr.167.015.<\/li>\n<\/ul>\n<p style=\"text-align: justify;\"><span class=\"Apple-converted-space\">&#8220;<\/span>Nakajima\u00a0offers an account of her collaboration as dramaturg with koosilja,\u00a0an experimental choreographer, in 2007 where her role was,\u00a0among other things, to \u201chelp her read original Noh texts and examine\u00a0Noh principles\u201d (166). As she puts it, her task was to help\u00a0translate \u201ca traditional Noh performer\u2019s movement vocabulary\u00a0into koosil-ja\u2019s postmodern dance vocabulary\u201d (167). Nakajima\u2019s\u00a0case study is a good reminder that the dramaturg carries a kind of\u00a0knowledge that is not always of the intellectual kind. As Nakajima\u00a0observes, her skills as dramaturg with koosil-ja is \u201ca form of\u00a0techn\u00ea\u00a0that is based on my internalized sensory knowledge of traditional\u00a0Japanese theatre\u201d (173).&#8221;<\/p>\n<ul style=\"text-align: justify;\">\n<li>&#8220;Dance Dramaturgy in Theory and Practice&#8221; Reviewed by Ariel Nereson. In: <em>Theatre Journal.<\/em> March 2017, Vol. 69 Issue 1, p103; Johns Hopkins University Press, doi:10.1017\/S0149767717000390<\/li>\n<\/ul>\n<p style=\"text-align: justify;\">&#8220;In another Dance Dramaturgy essay, Nanako Nakajima\u2019s work\u00a0as dance dramaturg for the media-performer koosil-ja is similarly concerned with navigation,\u00a0in her case of intercultural performance. Through her analysis of the creation and\u00a0performance of koosil-ja\u2019s 2007 work mech[a]OUTPUT, a media performance that engaged\u00a0Noh theatre for an audience not generally knowledgeable about this very specific form,\u00a0Nakajima describes including the \u201cperspective of the dramaturg onstage,\u201d representing\u00a0this perspective alongside the performer\u2019s \u201cin juxtaposition to each other within the choreography\u201d\u00a0(167). Nakajima brings her \u201cinternalised sensory knowledge\u201d of Noh to the\u00a0creative process (173), wherein her \u201ctask is to provide a means of access for people outside\u00a0the community\u201d (171). She summarizes these activities under the role of a \u201cnegotiator\u201d\u2014moving between dramaturg as performer and dramaturg as audience\u2014whose critical eye\u00a0is particularly necessary in performances that include cultural reproduction.&#8221;<\/p>\n<ul style=\"text-align: justify;\">\n<li><span style=\"font-size: 1rem;\">&#8220;Dance Dramaturgy: Modes of Agency, Awareness and Engagement&#8221; <\/span><span style=\"font-size: 1rem;\">Reviewed by Jess\u00a0<\/span><span style=\"font-size: 1rem;\">Applebaum. In:\u00a0<\/span><em style=\"font-size: 1rem;\">Dance Research Journal<\/em><span style=\"font-size: 1rem;\">. <\/span><span style=\"font-size: 1rem;\">Dec2017, Vol. 49 Issue 3, p92-94. 3p. DOI: 10.1017\/S0149767717000390<\/span><\/li>\n<\/ul>\n<p style=\"text-align: justify;\">&#8220;The book is a dynamic\u00a0and engaging \u201c performance lab\u201d<span class=\"Apple-converted-space\">\u00a0<\/span> for dramaturgs,\u00a0dancers, and choreographers interested\u00a0in the fi eld of dance dramaturgy. Broken into\u00a0three sections, \u201c Agency,\u201d \u201c Awareness,\u201d<span class=\"Apple-converted-space\">\u00a0<\/span> and\u00a0\u201c Engagement,\u201d<span class=\"Apple-converted-space\">\u00a0<\/span> the book creates its own\u00a0performance-generating system2\u2014 a matrixes\u00a0series of dramaturgical approaches that reset\u00a0notions of dramaturgy and allow dramaturgical\u00a0relationships and conversations to rise, resonate,\u00a0and modulate throughout the ten curated essays.&#8221;<\/p>\n<p style=\"text-align: justify;\">\n","protected":false},"excerpt":{"rendered":"<p>\u30c0\u30f3\u30b9\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30ae\u30fc\u306b\u95a2\u3057\u3066\u3001\u3053\u308c\u3060\u3051\u306e\u9818\u57df\u3068\u624b\u6cd5\u3001\u5730\u57df\u3092\u30ab\u30d0\u30fc\u3059\u308b\u306e\u306f\u521d\u3081\u3066\u3068\u306a\u308b\u66f8\u7c4d\uff08&#8221;Dance Dramaturgy: Modes of Agency, Awareness and Engagement&#8221;\uff09\u304c\u3001Palgrave\u51fa\u7248\u304b\u3089\u520a\u884c\u3055\u308c\u307e\u3057\u305f\u3002\u00a0\u79c1\u3082NY\u30c0\u30a6\u30f3\u30bf\u30a6\u30f3\u30c0\u30f3\u30b9\u306e\u632f\u4ed8\u5bb6\u30fb\u30c0\u30f3\u30b5\u30fc\u3067\u3042\u308b\u30af\u30b7\u30eb\u30b8\u30e3\u30fb\u30db\u30ef\u30f3\u30b0\u3055\u3093\u3068\u30cb\u30e5\u30fc\u30e8\u30fc\u30af\u30b8\u30e3\u30d1\u30f3\u30bd\u30b5\u30a8\u30c6\u30a3\u3067\u4e0a\u6f14\u3057\u305f\u30e1\u30c7\u30a3\u30a2\u30d1\u30d5\u30a9\u30fc\u30de\u30f3\u30b9\u3001mech[a]OUTPUT\uff082007\uff09\u3067\u306e\u3001\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30af\u3068\u3057\u3066\u884c\u3063\u305f\u5b9f\u308a\u591a\u3044\u30af\u30ea\u30a8\u30fc\u30b7\u30e7\u30f3\u30d7\u30ed\u30bb\u30b9\u306b\u3064\u3044\u3066\u3001\u30c6\u30af\u30b9\u30c8\u3092\u5bc4\u7a3f\u3057\u3066\u3044\u307e\u3059\u3002\u4ed6\u306b\u3082\u3001\u30a2\u30f3\u30c9\u30ec\u30fb\u30ec\u30da\u30c3\u30ad\u3084\u30de\u30a2\u30a4\u30b1\u30fb\u30d6\u30ea\u30fc\u30ab\u30fc\u306a\u3069\u3001\u6c17\u92ed\u306e\u30c0\u30f3\u30b9\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30af\u517c\u30c0\u30f3\u30b9\u7814\u7a76\u8005\u304c\u3001\u8457\u8005\u3068\u3057\u3066\u540d\u3092\u9023\u306d\u3066\u3044\u307e\u3059\u3002\u51fa\u7248\u793e\u3067\u306e\u30c0\u30f3\u30b9\u5206\u91ce\u30d9\u30b9\u30c8\u30bb\u30e9\u30fc\u3068\u306a\u308a\u3001\u73fe\u5728\u306f\u30a2\u30e1\u30ea\u30ab\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30af\u5354\u4f1a\u306e\u30c0\u30f3\u30b9\u30c9\u30e9\u30de\u30c8\u30a5\u30eb\u30ae\u30fc\u306e\u30c6\u30af\u30b9\u30c8\u30d6\u30c3\u30af\u3068\u3057\u3066\u4f7f\u308f\u308c\u3066\u3044\u307e\u3059\u3002\u305c\u3072\u56f3\u66f8\u9928\u3001\u7814\u7a76\u5ba4\u306a\u3069\u306b\u4e00\u518a\u3001\u304a\u8cb7\u3044\u6c42\u3081\u4e0b\u3055\u3044\u3002\u4ee5\u4e0b\u306b\u3001\u5404\u7d19\u3067\u306e\u66f8\u8a55\u3082\u63b2\u8f09\u3057\u307e\u3057\u305f\u3002<br \/>\n\uff08\u7d9a\u304d\u3092\u8aad\u3080\uff09<br \/>\n\u3000<br \/>\nI contribute one article to this upcoming publication entitled &#8220;Dance Dramaturgy: Modes of Agency, Awareness and Engagement&#8221;, in which I discuss our creative and teaching\/learning process of movement and my dramaturgical thinking with a NY-based choreographer koosil-ja during her media performance of &#8220;mech[a]OUTPUT&#8221; (2007) at the NY Japan Society. This book covers the broad range of methods and perspectives in dance dramaturgy and I am delighted to be with other inspiring authors together. Please order our book for your libraries and offices.<br \/>\nHere are the reviews on this publication.<br \/>\n(read more)<\/p>\n","protected":false},"author":1,"featured_media":553,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-552","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-publications"],"_links":{"self":[{"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/posts\/552","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=552"}],"version-history":[{"count":9,"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/posts\/552\/revisions"}],"predecessor-version":[{"id":1163,"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/posts\/552\/revisions\/1163"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/media\/553"}],"wp:attachment":[{"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=552"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=552"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.nanakonakajima.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=552"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}