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DOCTORAL THESIS The Baroque in Jií Kylián Vaghi, Katja Award date: 2016 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 The Baroque in Jiří Kylián Intertextual and Intermedial References in Kylián’s Works by KATJA VAGHI, lic phil A thesis submitted in partial fulfillment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Table of Contents Acknowledgements .................................................................................................... 4 Abstract .......................................................................................................................... 5 Introduction .................................................................................................................. 7 0.1. Jiří Kylián and the contemporary Baroque ............................................................. 7 0.1.1. Jiří Kylián .................................................................................................................. 7 0.1.2. The contemporary Baroque .......................................................................... 11 0.2. Key issues and methodological considerations ................................................... 13 0.3. Transmediality: Baroque, Neo-baroque or contemporary Baroque? ........ 15 0.4. Beyond the dance works: Intertextuality and Intermediality ....................... 18 1. Thinking and re-thinking a mythical past .................................................... 21 1.1. Historical references in Kylián: between Baroque and early Classicism .. 23 1.1.1. Baroque etymology ........................................................................................... 26 1.1.2. Kylián’s definition .............................................................................................. 29 1.2. Of misshapen pearls: baroque forms ........................................................................ 32 1.2.1. Baroque forms in fine art ................................................................................ 32 1.2.2. Baroque forms in music .................................................................................. 38 1.3. Rethinking the Baroque: the Baroque today and towards a Neo-baroque ........................................................................................................................................................... 41 1.3.1. Preparing the Neo-baroque ........................................................................... 41 1.3.2. Omar Calabrese’s Neo-baroque ................................................................... 44 1.3.3. Mieke Bal’s contemporary Baroque ........................................................... 49 1.3.3.1. Preposterous History………………………………………………………..51 1.3.3.2. 'Quoting' Caravaggio ………………………………………………………...53 1.3.3.3. Deixis and its application to dance …………………………………….54 2. Intertextual and intermedial considerations ............................................. 66 2.1. On referencing and quoting ......................................................................................... 70 2.2. Dance and language: dance studies and Textuality .......................................... 72 2.3. Intertextuality and Intertextuality in dance ......................................................... 74 2.3.1. Gérard Genette’s notion of Intertextuality .............................................. 76 2.3.2. Intertextuality in dance ................................................................................... 82 2.4. Intermediality .................................................................................................................... 89 2.4.1. Between Intertextuality and Intermediality: Andreas Böhn’s approach ............................................................................................................................ 93 2.4.2. Intermediality: Irina Rajewsky’s and Werner Wolf’s approaches .............................................................................................................................................. 101 2.4.3. Intermedial studies in dance ....................................................................... 117 2.5. Embodied references: Jiří Kylián’s works ............................................................ 120 3. Bella Figura (1995) ........................................................................................... 124 3.0. General introduction .................................................................................................... 124 3.0.1. Structure .............................................................................................................. 126 3.0.2. Making a good impression: title and themes ....................................... 129 3.1. Explicit references: music ........................................................................................... 131 3.1.1. Musical selection and organisation .......................................................... 133 3.1.1.1. Pergolesi's Stabat Mater …………………………………………………133 3.1.1.2. Lukas Foss's Salomon Rossi Suite …………………………………...136 3.1.1.3 The other works of music………………………………………………...137 1 3.2. Implicit references: movement, costumes and light ....................................... 139 3.2.1. Movement ............................................................................................................ 139 3.2.1.1. Sensuality………………………………………………………..……….…….143 3.2.1.2. Instability and Metamorphosis…………………………….…….……147 3.2.1.3. Knots and Labyrinth……………………………………………………….150 3.2.1.4. Direct references: are these quotations of expression………157 3.2.1.5. Group section……………………………………………………………………………………….161 3.2.2. Costumes .............................................................................................................. 169 3.2.3. Light ....................................................................................................................... 173 3.2.3.1. Direction of light………………………………………………………….....174 3.2.3.2. Type of light……………………………………………………………………177 3.2.3.3. Intensity of light…………………………………………………………...…178 3.3. Where is the audience standing? Deixis in dance ............................................ 181 3.3.1. Space ...................................................................................................................... 182 3.3.1.1. Space: curtains and framing…………………………………………….182 3.3.1.2. Space: exceeding the frames……………………………………………185 3.3.2. Time ....................................................................................................................... 186 3.3.3. Persona ................................................................................................................. 188 3.4. Conclusion ......................................................................................................................... 188 4. Petite Mort (1991) ............................................................................................. 193 4.0. General introduction .................................................................................................... 193 4.0.1. Structure .............................................................................................................. 194 4.0.2. Baroque eroticism: title and themes ........................................................ 199 4.1. Explicit and intramedial references: the props ................................................ 204 4.1.1. The props: fencing foils and black dresses ........................................... 204 4.1.2. Of black dresses, fencing foils and other intramedial elements .. 207 4.2. Implicit references: costumes, the black cloth and music ............................ 212 4.2.1. The costumes ..................................................................................................... 213 4.2.2. The black cloth .................................................................................................. 218 4.2.3. Music ...................................................................................................................... 220 4.2.3.1. Music and movement………………………………………………………227 4.2.3.2. Silence……………………………………………………………………………231 4.3. Where is the audience standing? Deixis in dance ............................................ 233 4.3.1. Persona ................................................................................................................. 236 4.3.2. Space ...................................................................................................................... 238 4.3.2.1. Space: light generating space…………………………………………..239 4.3.2.2. Space: the proper space for sexuality……………………………….243 4.3.3. Time: dream time ............................................................................................