Titlebook: Dance Matters in Ireland; Contemporary Dance P Aoife McGrath,Emma Meehan Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 con

NIP

On Peregrine Collaborations—Cindy Cummings’ Choreography of ,: Woman, Disorientation, Displacementorientates the relationship between viewer and image. Cummings’ agency in the image invites instead a ‘dialogic mode of vision’ (Mieke Bal) between viewer and image that displaces essentialist connotations of woman and nature.

SEMI

Discomforting/Disarming Touch: Experiencing Affective Contradiction in Improvisatory Dance Performanduce a questioning of usual patterns of viewing for the spectator, provoking a heightened awareness, and potential rethinking, of how Irish society diminishes women’s ‘power of activity’ by restricting their capacity for corporeal autonomy and choice (Spinoza in Spinoza: the complete works. Hackett Publishing, Cambridge, p. 258, .).

玩笑

无目标

A Gallery of Hanging Thoughts: Reflections on a Choreographic Practice (12 Frames) as an artist. The intention is for the frames, in this gallery of hanging thoughts, to function variously as windows and/or mirrors and in so doing to provide insights into, or prompt reflections on, specific aspect of choreographic processes, her own and others.

Albinism

从属

https://doi.org/10.1007/978-88-470-0694-2of choreography find an expressive mode that has not been easily accessible in traditional dramatic forms. They reassemble the unsaid and unsayable through the languages of performance, keeping us alive to the stories but also to the questions of how and what stories are told, and by whom and to what end.

Uncultured

vibrant

狼群

allergen

The Perfect Storm and the Turning Pointsayable. Crafted as a series of elliptical scenes, these three narrative threads entwine thematically, somatically and locatedly, forming multiple and resonant connections, in particular between ancient and contemporary worlds, between an English childhood, an ancient Irish language, and choreography.