In Smithereens

The Costume Remains of Lea Anderson's Stage

Inbunden, Engelska, 2024

1 420 kr

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Beskrivning

What happens to contemporary dance costumes when the show is over and their surrounding legacy slips from view? How might costumes be mobilised towards representational repair, post-performance? Located within Lea Anderson’s choreographic archive, this book charts a series of hands-on interventions with the fabric remains of her companies The Cholmondeleys and The Featherstonehaughs. Centred on practices of Disintegration, Preservation, Transaction and Display, they offer provocative modes of engaging with the physical leftovers of performance, the degrading of memory and legacy around pre-digital theatre work, and the temporal material transitions of artefacts enduring outside of traditional museological contexts.How might we regard these mercurial items? As precious relics to be protected in museum holdings, ghostly harbingers of residual performance histories, or inconvenient detritus? The book travels from props-makers’ studios to auction houses and galleries, incorporating film-making, artefact handling and curation along the way, in lively dialogue with perspectives from dance history, material culture, sociology and performance studies. The choreographic archive is envisioned as repository of the awkward, scattered remains of legacy blown apart into fragments. Smithereens, which can, if we allow them, demand an alternative after-life that disrupts the vanishing inflicted on these costumes and the companies who danced in them.

Produktinformation

Utgivningsdatum:2024-10-14
Mått:170 x 244 x 20 mm
Vikt:961 g
Format:Inbunden
Språk:Engelska
Antal sidor:200
Förlag:Intellect
ISBN:9781835950524

Utforska kategorier

Scenkonst och film inom Kultur
Scenkonstens historia inom Kultur

Mer om författaren

Mary Kate Connolly is a writer, editor and curator based in London, UK.

Recensioner i media

'Rather than a history of Anderson’s dance works, this book uses The Cholmondoleys and The Featherstonehaughs archives to bring life into once-precious costume and dance memory objects at risk of being forgotten or left to rot away without anyone noticing... In Smithereens comes through as a significant contribution to costume knowledge. The book chisels out a significant spot for itself within the sprawling landscape of literature on and with costume. First, the book manages to challenge the rules and beliefs associated with financially strong major museum holdings by way of hands-on activities possible to conduct by all sorts of persons in all sorts of fringe archives and odd storages. In offering what comes through as quite activist, yet highly respectful and ethical, ways of history making, In Smithreens also contributes useful ideas and insights to cross-disciplinary domains such as critical archival studies.'