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My Dance (R)Evolution XXXVOJQBTTJU Anatoli Vlassov 131

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My Dance (R)Evolution XXXVOJQBTTJU Anatoli Vlassov 131 s Arti dello Spettacoloa / Performing Arts Arti dello Spettacolo / Performing Arts &EJUPS Donatella Gavrilovich 6OJWFSTJUZPG3PNFA5PS7FSHBUB Associate Editors Stefania Frezzoti Donato Santeramo National Gallery of Modern Art (GNAM), Rome Queen!s University, Kingston (CANADA) Fabrizio Grifasi Ol’ga Kupcova Fondazione Romaeuropa, Rome State Institute of Art Studies (SIAS), Mosca (RUSSIA) Vladislav Ivanov State Institute of Art Studies (SIAS), Mosca (RUSSIA) Consulting Editor Lucie Kempf Marie-Christine Autant-Mathieu Université de Lorraine (FRNCE ) EUR!ORBEM, CNRS, Paris-Sorbonne (FRNCE) Claudia Pieralli Delphine Pinasa University of Florence Centre National du Costume de Scène et de la Scénographie (CNCS) Gabriel Poole (FRNCE) University of Cassino and Southern Lazio Dmitrij Rodionov Elena Randi A. A. Bakhrushin State Central Teatre Museum (RUSSIA) University of Padua Daria Rybakova Advisory Board St. Petersburg State University of Culture and Arts (RUSSIA) Gabriella Elina Imposti Elena Servito University of Bologna INDA (National Institute of Ancient Drama) Foundation of Syracuse Andrei Malaev-Babel Margaret Shewring Florida State University/Asolo Conservatory for Actor Training (USA) University of Warwick (ENGLAND) Lorenzo Mango Artem Smolin University of Naples ‘L!Orientale! St. Petersburg State University of Information Technologies, Mechanica Mariateresa Pizza and Optics (RUSSIA) Archive ‘Dario Fo-Franca Rame! Leila Zammar Roger Salas Loyola University of Chicago JFRC ‘El Pais!, Madrid (SPAIN) Fabio Massimo Zanzoto Riku Roihankorpi University of Rome ‘Tor Vergata! University of Tampere (FINLAND) Editorial Assistants Editorial Board Elisa Anzelloti, University of Viterbo “La Tuscia” Leoneta Bentivoglio Annamaria Corea, University of Rome ‘La Sapienza! ‘La Repubblica!, Rome Anna Isaeva, Université Paris 3 Sorbonne Nouvelle (FRNCE ) Michaela Böhmig Irina Marchesini, University of Bologna Member of the International Dance Council CID - UNESCO Alice Pieroni, University of Florence Manuela Canali Marianna Zannoni, University of Venice National Academy of Dance, Rome Silvia Carandini University of Rome ‘La Sapienza! Staf Marieta Chikhladze Marco Argentina, University of Padua, Giulia Cara, University of Tbilisi State University (GEORGIA) Rome ‘Tor Vergata#, Gioia Cecchi, University of Rome ‘La Sapienza#, Enrica Dal Zio Marco Damigella, University of Roma Tre, Davide Di Bella, Univer- ‘Michael Chekhov Association MICHA!, New York (USA) sity of Florence, Alessandro Maria Egito, University of Rome ‘Tor Dominique Dolmieu Vergata#, Valeria Gaveglia, University of Rome ‘Tor Vergata#, Silvia Lo- Maison d!Europe et d!Orient - Eurodram (FRNCE ) reti, University of Rome ‘Tor Vergata#, Manuel Onorati, University of Erica Faccioli Rome ‘Tor Vergata#, Valeria Paraninf, University of Rome ‘Tor Verga- Academy of Fine Arts of Carrara ta#, Ilaria Recchi, University of Rome ‘Tor Vergata#, Andrea Vanacore, University of Roma Tre TFKPVSOBMFWBMVBUFTTVCNJTTJPOTUISPVHIBEPVCMFCMJOESFGFSFFTZTUFN s Arti dello Spettacoloa / Performing Arts Art dello Spetacolo / Performing Arts Body (R)evolution Dance between the end of the nineteenth century and the contemporary era edited by Elisa Anzellotti, Donatella Gavrilovich and Elena Randi 1BUSPDJOJP Editorial by 6OJWFSTJUËEFHMJ4UVEJ Donatella Gavrilovich 4 EJ3PNBi5PS7FSHBUBw Body (R)revolution Donatella Gavrilovich e Elena Randi 12 ‘Liberare il corpo e la mente’: G. Stebbins, R. St. Denis e Mata Hari Tiziana Leucci 16 Te Revolutionary Body, or Was Tere Modern Dance in Russia? Irina Sirotkina 31 1SPHFUUPHSBGJDP (JPJB$FDDIJ Danza e movimento al Kamernyj Teatr di Mosca Aurora Egidio 42 4FHSFUFSJBFVGGJDJPTUBNQB TUBfBTQB!HNBJMDPN Te ‘Belarusian Vase’ Gymnastic Performance: Embodying the Ideological Imagination of the State Olia Sosnovskaya 54 5JQPHSBfB La danza di Mao. Corpo e rivoluzione nella Nuova Cina (1940-1960) 6OJWFSTJUBMJB Vito Di Bernardi 64 7JBEJ1BTTP-PNCBSEP 3PNB Du ‘corps’ anatomique à la ‘corporéité’ nationale. La construction de la danse classique chinoise selon Ye Ning Cyrielle Perilhon 76 "35*%&--041&55"$0-0 Les danseurs, médiums des pawang 1&3'03.*/("354 Stefania Rosseti 86 "OOP*7]/VNFSP] Il circo australiano: il corpo ai confni delle arti performative Elena Mazzoleni 98 "UUSJCVUJPO*OUFSOBUJPOBM %JSFUUPSF3FTQPOTBCJMF Expanding corporeal and social borders on the site of the screen %POBUFMMB(BWSJMPWJDI Ariadne Mikou 106 L’eloquenza straniante del corpo-negato in Natale in casa Cupiello di Antonio Latella Simona Bruneti 115 &EJUPSF 6/*7&34*5"-*" Te Body of a Dancer in a Lecture-performance (Stopping by Woods on a Snowy Evening 7JBEJ1BTTPMPNCBSEP by Tatiana Gordeeva and Ekaterina Bondarenko) 3PNB Elena Gordienko 123 5FM 1*$' FNBJMFEJUPSJB!VOJWFSTJUBMJBTSMJU Experiences Phonesia, My Dance (R)Evolution XXXVOJQBTTJU Anatoli Vlassov 131 *44/ 3FHJTUSB[JPOFUSJCVOBMF Focus От Февраля к Октябрю: исходя из безграничной свободы… HFOOBJPDPOO Владислав Иванов 139 $PWFSJNBHFTBelarusian Vase’ choreography4UJMMGSPNUIF57 CSPBEDBTUTIPXJOH ra la fne dell#Otocento e gli inizi del No- Between the end of the nineteenth century and the vecento la scena teatrale diventa specchio beginning of the twentieth century, the theatrical della società e della cultura che cambia, scene becomes a mirror of the changing contem- Ttrasformando velocemente mode e costumi fno porary society and culture, rapidly transforming fa- ad allora in uso. L#atenzione è focalizzata sulle inf- shion and costumes. Te atention then focuses on nite possibilità di espressione del corpo del danza- the endless possibilities of expression of the dan- tore/atore, sulla liberazione conquistata da certe cer/actor#s body, as a result of the liberation from avanguardie dalle costrizioni del costume di sce- the constraints of stage costumes, as well as preju- na, così come dai pregiudizi, nella ricerca di nuovi dices, which was a conquest obtained by certain modi e nuove forme espressive. Il corpo arriva tal- avant-gardes, looking for new ways and new forms volta fno a denudarsi. Le tradizioni secolari sono of expression. Te body is sometimes also shown spesso infrante e lo sguardo degli artisti occidentali in its nudity. Secular traditions are ofen broken, non di rado guarda a Oriente, cogliendo ed elabo- and Western artists are frequently interested in rando in modo originale l#eredità etnica e culturale Eastern culture and traditions, capturing and ela- di popolazioni lontane, esotiche, dalle quali ricerca borating the ethnic and cultural heritage of distant, e trae ispirazione e nuove energie. Nascono mo- exotic populations in an original way, drawing in- derni metodi, scuole, teorie rivolti allo studio della spiration and new energies from them. Modern cinetica corporea. Nel corso del Novecento fno methods, schools and theories aimed at the study alla contemporaneità il corpo del danzatore/atore of body kinetics are born. During the twentieth può diventare strumento di protesta non verbale century up to the contemporaneity, the dancer/ sociale, politica, culturale e religiosa o, al contrario, actor#s body can be either used as a non-verbal so- può essere manipolato ad arte per raggiungere altri cial, political, cultural and religious tool of protest scopi: ad esempio, la propaganda politica. La dan- or manipulated to achieve other goals: for exam- za diviene pensiero, acquista dignità e autonomia. ple, political propaganda. Dance becomes a form In talune esperienze, costituisce il punto di incon- of thinking, acquiring dignity and autonomy. In tro e di partenza per sperimentazioni innovative some cases, it is the meeting point and the starting nell#interazione tra arti visive e performative, e la point of innovative experiments in which the inte- tecnologia digitale giunge a manipolare e trasfor- raction between visual and performative arts, to- mare il corpo che, privato del peso della materia, gether with the application of digital technologies evolve e si trasforma talvolta in una nuova dimen- aims at manipulating and transforming the body Editorial by Donatella Gavrilovich sione spazio-temporale. that, deprived of the weight of mater, evolves and is Body R(e)volution. Dance between the end of the sometimes transformed into a new space-temporal di- nineteenth century and the contemporary era, cui è mension. Te present issue of the journal, Body R(e) dedicato il presente numero della rivista, raccoglie volution. Dance between the end of the nineteenth century e presenta un forilegio di articoli su questa incre- and the contemporary era, includes and presents an an- dibile rivoluzione/evoluzione del corpo danzante thology of articles on this incredible revolution /evo- nella scena teatrale e nella società. lution of the dancing body in the theatrical scene and in Western society. *44/ 6 ‘Liberare il corpo e la mente!: G. Stebbins, R. St. Denis e Mata Hari TIZIANA LEUCCI, CNRS, CEIAS, Paris. n this article, by starting from the end of the 19th century till the beginning of the 20th century, I analyze the impact of some psycho-physical techniques, belonging to both the Western and the Eastern traditions, on the development of the so called ‘modern dance# in Europe and the Unites State. I will then focus on the personal Iadoption and interpretation of those techniques according to the sensitivity and the need of each artist, as well as the specifc signifcation and use that those pionniers, Genevieve Stebbins, Ruth St. Denis and Mata Hari, made of their own body during their life, training, performances and teaching. I will also tackle the importance of the
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