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dc.contributor.authorKellermann, Jonas
dc.date.accessioned2021-10-07T09:55:30Z
dc.date.available2021-10-07T09:55:30Z
dc.date.issued2021
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/50855
dc.description.abstractThis chapter examines Sasha Waltz’s choreographic staging of Berlioz’s Roméo et Juliette for the Paris Opera Ballet from 2007. Waltz’s production reimagines one of the most canonical stories in the classical ballet repertoire through the abstract and fragmentary lens of contemporary dance. I trace how Waltz appropriates the post-modern principles of Contact Improvisation for purposes of balletic storytelling. Drawing from recent affect-focussed criticism in dance studies, I explore how Waltz uses the non-narrative relationality of Contact Improvisation to transform Shakespeare’s poetic constellations of affect into abstract, yet dramatically expressive choreographic embodiments of affect, especially in the Pas de deux during the “Scène d’amour”.en_US
dc.languageEnglishen_US
dc.subject.classificationbic Book Industry Communication::D Literature & literary studies::DS Literature: history & criticismen_US
dc.subject.otherLiterary Criticism, Shakspeareen_US
dc.titleChapter 4 Choreographing Loveen_US
dc.title.alternativeBalletic Contact in Sasha Waltz’s Roméo et Julietteen_US
dc.typechapter
oapen.identifier.doi10.4324/9781003185536-4en_US
oapen.relation.isPublishedBy7b3c7b10-5b1e-40b3-860e-c6dd5197f0bben_US
oapen.relation.isPartOfBook219a9525-9343-4c89-bfbb-d576fbf247f7en_US
oapen.relation.isbn9781032028590en_US
oapen.relation.isbn9781032028606en_US
oapen.imprintRoutledgeen_US
oapen.pages62en_US


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