Dancing and Drawing, Choreography and Architecture

Steven Spier

    Research output: Contribution to journalArticle

    4 Citations (Scopus)

    Abstract

    Collaboration between choreographers and architects still usually takes the traditional form of the latter designing sets for the former, while research on the relationship between architecture and choreography is scant. One of the few examples of a choreographer working with then-current architectural concerns is William and the Ballett Frankfurt in the late 1980s, particularly in Enemy in the Figure (1989) andLimb's Theorem (1990). These pieces show a profound understanding of and engagement with architectural issues then being addressed by Daniel Libeskind. Forsythe's interest in Libeksind was not his 'deconstruction', as has often been asserted, but in his operations on drawing. Their coincidence of intellectual interests and resulting friendship allows us to see clearly how concerns in architecture were also explored through the medium of ballet. It is a reminder too, of a period, postmodernism, when architecture led theoretical discussion in the arts.
    LanguageEnglish
    Pages349-363
    JournalJournal of Architecture
    Volume10
    Issue number4
    Publication statusPublished - 2005

    Fingerprint

    Choreographers
    Choreography
    Dancing
    Enemy
    Friendship
    Ballet
    Art
    Postmodernism
    Coincidence
    Deconstruction
    Daniel Libeskind
    1980s

    Keywords

    • choreography
    • Libeskind
    • Forsythe
    • drawing

    Cite this

    Spier, Steven. / Dancing and Drawing, Choreography and Architecture. In: Journal of Architecture. 2005 ; Vol. 10, No. 4. pp. 349-363.
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    Spier, S 2005, 'Dancing and Drawing, Choreography and Architecture', Journal of Architecture, vol. 10, no. 4, pp. 349-363.

    Dancing and Drawing, Choreography and Architecture. / Spier, Steven.

    In: Journal of Architecture, Vol. 10, No. 4, 2005, p. 349-363.

    Research output: Contribution to journalArticle

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