Anda di halaman 1dari 14

1

TheDancesofDorisHumphrey
Creatingacontemporaryperspectivethroughdirectorialinterpretation
byLesleyMain
(firstpublishedinDanceResearch,Vol.23.2,Winter2005)
IthasbeenwidelyacknowledgedthatDorisHumphreyandMarthaGrahamwerethetwo
mostinfluentialexponentsofAmericanmoderndance,referredtotodayascontemporary
dance.Graham'sworkhasbeenthemoreprominentinpartbecausesheoutlivedHumphrey
bythirtytwoyearsandperformedforamuchlongerperiod.Thisdoesnot,however,
diminishtheinfluenceHumphrey'sworkhashadonmoderndancesinceherdeathin1958.
Moresignificant,perhaps,istheinfluenceitcancontinuetohaveinthefuture.Humphreys
legacyincludesacertainamountofdocumentaryliterature,includingherseminalbookon
thecraftofchoreography,TheArtofMakingDances(1959);photographsandfilmfootageof
herdancingandofherdances;andacodifieddancetechniquewhichcontinuestobetaught
onawiderscalenowthaneverbefore.Thedances,however,needtobeperformedinthe
theatre,becauseiftheyremainasanarchive,theymayberegardedassuch,andthepurpose
ofmyworkistoilluminatethesedancesforacontemporaryaudience.Thisarticlewill
discussstrategiesundertakentodevelopacontemporaryperspectiveonmoderndance
productionincludingthesignificanceofstyle;thesearchforalivingpastdrawingonthe
ideasofR.G.Collingwood;theidentification,viewingandinterpretationofevidence,
includingtheuseofaLabanotationscore.Theproductionprocessesemployedbyarangeof
artistsinvolvedinreconstructionwillbeconsidered,andmyownpracticepositionedin
relationtothis.Thenotionofcoauthorshipwillbeexaminedwithinthecontextsofthese
respectivepractices,illustratedbyexamplesfromrecentHumphreyproductions.
Unliketheotherperformingarts,whichhavesurvivedtoalargeextentthroughtextbased
evidence,thereisnoimmediateparallelexistingindance.Anumberofnotationsystemsare
utilised,includingBenesh,EshkolWachmanandLabanotation,withthelatterbeingused
regularlyfortherecordingofmoderndanceduringthepastfiftyyears.Iwouldsuggestthat
this,oranysymbolbasedsystemisnotwhollycomparablewiththoseexistinginmusicand
drama,inpartbecausethescoreiswrittenbysomeoneotherthanthechoreographer.In
addition,despitethedevelopmentsinLabananalysis,crucialaspectsofmovementqualityand
style,whichareintegralaspectsofinterpretingawork,arenotinevidencewithinthe
HumphreyscoresIhaveencountered.ThisisnotacriticismofLabanotation,orother
systems,butmoreacriticalobservationofnotation.
Styleisafundamentalaspectinthestagingofdanceworksbecauseitencapsulatesthe
choreographer's'signature'andidentifiestheworkasbelongingtothatparticulartradition.In
1996,theAmericanwriterandcriticMarciaSiegelcommentedthat"Labanotationhastobe
retranslatedbacktothebodiesbysomeonewhonotonlycanreaditbutcanteachthe
movementeffectively"(Siegel,1996:6).Siegelmadethiscommentinrelationto
performancesgivenduringtheHumphreycentenaryin1995whichshefeltwerestylistically
weak,andsheisrighttoraisethisasaconcern.Withoutintrinsicknowledgeofastyleand
itsphilosophy,itisquestionablewhetheradirectorwouldbeinapositiontocommunicate
theoftensubtledynamicandphysiologicalnuancesofamovementlanguage.Theissueis
notsolelynotationrelated,astherearestructuralaspectsofmovementthatcanindicatestyle,

themostfundamentalintheHumphreytraditionbeingtheroleofthepelvisasthecentreof
movementinitiation,withitsinterconnectingrelationshiptothebreathandabdominal
muscles.Withoutthisconnection,thebodyispronetomoveperipherallyfromthelimbs.
This,consequently,negatesthecentralprinciplesofwholenessanddancingfromtheinside
outwhicharethefoundationofHumphreysFallandRecoveryphilosophy.1
Forachoreographer'sworktobeunderstood,thestylemustbeclear,andcanbe,asthere
arestillfirstgenerationdancershandingdowntherespectivephilosophieswhoare
acknowledgedauthorities,andacrosstheartformthereareexponentswhoarefluentin
specificstyles.Asignificantfactoristhephilosophybehindastyle,sothatthehanding
downandsubsequentdevelopmentisrootedinideas,perhapsmoresothaninphysical
action.ThecentralprinciplesofHumphreysphilosophyincludesuchelementsasthe
gravitationalpull;lyricism;successionalflow;theideaoftakingmovementtoitsveryedge;
theuseofbreathinawholebodycontextinwhichthebodyssurfacestakeonthe
physiologicalactionofthelungsintermsofexpansionandsubsidence.Theinterpretationof
thesephilosophicalideasisgoingtochange,inevitably,overtime,particularlyintermsof
physicalmanifestationaspartofthenaturalevolutionofthedancingbody2.Theideas,
however,willremainintactasideas,andtheircontinuingexistencecreatesafoundationthat
canunderpinatradition,thusallowingforthecoexistenceofbothrootsanddevelopment.
Thereisanopportunitytoestablishtraditionsformoderndancewhilethereisstillaliving
connection.Thishashappenedtoacertainextentthroughthefirstgenerationdancers,
throughwhomthemovementstyles,philosophiesandtoacertainextenttherepertoireshave
beenpassedon,muchlikethetraditionexistinginclassicalballet.Thereisadistinction
however,andaneedforsomethingmore.The'handingdown'methoddoescontributetoa
certainextentwithregardtostyle,andexamplesfromthefirstgenerationare,forDoris
Humphrey,ErnestineStodelle,memberoftheHumphreyWeidmanCompanybetween1929
35;forCharlesWeidman,NonaSchurman,whoperformedwithHumphreyWeidmanand
continuedtoworkwithWeidmanwhenthemaincompanydissolvedin1945;andforMartha
Graham,ChristineDakin,TereseCapucelliandJanetEilber,whohaveallheldtheroleof
artisticdirectorhavingbeenprincipaldancerswiththeMarthaGrahamDanceCompany.A
dance'style',arguably,needstobeseennotsimplyasanentityinitselfthroughthemedium
ofthedancetechniqueclass,albeitadynamicone,butwithinabroaderartisticcontextthe
bodyofworkthatisrepresentativeoftheindividualartist,otherwisethereisnoartform,
thereissimplyaphysicalexperience.Ifthedanceworksarenotperformed,moderndance
maybeleftsolelywithaseriesofcodifieddancetechniquesHumphrey,Graham,
Cunningham,Limn,Horton.Thesetechniquesemergedtoservetherepertoireofthe
individualchoreographer.Ifthereisnorepertoirethereceasestobeanartisticpurposefor
thetechniqueotherthanasatrainingmechanism.ThiscouldbeseenasunproblematicbutI
believewouldbedetrimentalforthecontinuingevolutionofmoderndanceartists,because
theartistryofeachchoreographerlieswithintheirrespectivedances.Experiencingthis
aspectofatraditionpresentsaconnectionforthedancerthatdoesnotfullyexistwithinthe
techniqueclassitself.
Thequestionarisingfromthisishowdocontemporarypractitioners,directorsor
performers,reachtheartist'sbodyofwork,andfollowingonfromthishowcantheycontinue
todoso?'Reachingtheartist'swork'entailsinpartlookingbacktoconsiderwhatexistedin
anothertime,thusthequestfortheanswerbeginsfromahistoricalperspective.Itwillnot
2

remainthereexclusively,butforanartformwithlittlehistoryortraditionofitsown,reality
dictatesanoutwardsearch,totheotherperformingandliteraryarts,andtheconsiderationof
existingmodelsandapproaches.TheideaspresentedbyR.G.Collingwoodinhisseminal
workTheIdeaofHistoryprovideanumberofusefulandidentifiableapproachestothe
viewingperspectiveofhistory.Theseideas,notablyinrelationtotheroleofthehistorianas
activeparticipatorintheinterpretationofhistory,arefurtherreflectedinmorerecentviews
fromthefieldsofhistoryandphilosophy3.Collingwoodpresentstheoriesaroundsuchideas
asthe'livingpast'(Collingwood,1993:158),the'historicalimagination'(Collingwood,1993
:231),andtheconnectionbetween'thoughtandaction'(Collingwood,1993:115).He
makesafurtherimportantobservationinhisessayThePhilosophyofHistory(1930),when
hestates"Everyonebringshisownmindtothestudyofhistory,andapproachesitfromthe
pointofviewwhichischaracteristicofhimselfandhisgeneration"(Collingwood,1993:
xxii).The'livingpast'thereforeispursuedfromthepresent.Thisisinlinewiththeposition
putforwardbyT.S.Eliotwhen,inhisessayTraditionandtheIndividualTalent,hesays
".....thepastshouldbealteredbythepresentasmuchasthepresentisdirectedbythepast"
(Eliot,1917:39).Collingwood's'livingpast'infersthattherecanbecontinualevolution.He
citesanaspectofHegel'sphilosophyasanillustration,"History...travelsinspirals,and
apparentrepetitionsarealwaysdifferentiatedbyhavingacquiredsomethingnew"
(Collingwood,1993:114).ThisnotionwasalsoputforwardbyEliotinhisobservationthat
"...thearrivalofanewworkaffectsexistingwork....thewholeexistingordermustbe,ifever
soslightlyaltered"(Eliot,1917:38).Thesetheoriesarebothattractiveandpertinentwhen
consideredinrelationtotheperformingartsbecauseoftheemphasison'living'and
'imagination',andthecreativepossibilitiesthisemphasisprovides.
Aconsiderationofcurrentpracticesinmoderndance
Indefiningwhatconstitutesareconstruction,LabanotatorTomBrowncommentsthat"the
idealreconstructionforsomewouldbeamacabreembalmedimpersonationforothers"
(Brown,1993:27).MarkFranko,inhisdiscussionofBaroquedance,observedthat
reconstructionsinthe1980sbegantoconveysomethingclosertothetheatricalforceofthe
originalchoreographythroughtheemergenceofadegreeofliteralaccuracywiththe
requisitetheatricalimmediacy(Franko,1989:57).Frankoinfersthattheperformanceof
thesedancesmorecloselycaptureddocumentedperformancequalitiesincomparisonwith
someofthepre1980staidandantiquatedpresentationshealsorefersto.Hefurtherdefines
theatricalforceaspotentiallyinfluencingnewworkratherthanmerelyanimatingan
historicalartefact.FrankocitestheFrenchaesthetician,GuyScarpetta,whodistinguishes
betweenareturntoinanostalgicsenseandareturnofinaninventivelyoriginalsense4.
Frankosobservationshaverelevanceformoderndance,inrelationtotheindividualworkas
wellastotheoveralldevelopmentofatradition,becauseoftheinferencethattheworkitself
canbemorethanaselfcontainedentityandcanbecomepartofalivingtraditionthat
continuestoevolve.
Theideaofevolvingworktiesinwiththe'continuum'theorypresentedbySusan
Manning,initiallyattheDanceReConstructedconferenceatRutgersUniversityin1992,and
subsequentlyinherbook,EcstasyandtheDemon(1993).Shedescribesfirsttheprocessthat
thescholar,inherexample,ordirectorwillgothrough:
Thedancescholarhasnochoiceexcepttopursuetheelusiveanduncertain
textofperformance.Aneventboundintimeandspace,aperformancecan
bereadonlythroughitstracesonthepage,inmemory,onfilm,inthe
3

archive.Eachofthesetracesmarks,indeeddistorts,theeventofperformance,
andsothescholarpursueswhatremainselusiveasifmovingthroughan
endlessseriesofdistortingreflections.Butthisprocessleavesitsownsortof
illumination,andthatilluminationiswhatthescholarrecords,ineffectpenning
ajournaloftheprocessofenquiry.
Manning,1993:12
Manningcontendsthat"areconstructormayfavoroneoftheopposingendsofasingle
continuum..."(Manning,1993:13).ShecitesMillicentHodsonandKennethArchers
reconstructionofNijinsky'sLeSacreduPrintemps(1913)fortheJoffreyBalletin1987asan
exampleofoneendofthiscontinuum.HodsonandArchersprocessofreconstruction,for
thisworkandtheirsubsequentproductionsintheensuingyears,hasasignificantemphasison
documentaryevidenceandencompassesbothscholarlyandartisticinterventionontheir
collaborativepart.Theirartisticgoalisthepreservationofmasterworks,achievedthrough
therestorationoflostworkwhichhas,intheirjudgement,historicalrelevanceand
contemporaryresonance,andthepurposeoftheirartisticendeavouristocreateareasonable
facsimileoftheoriginal(ArcherandHodson,2000:1).
AfurtherexampleisErnestineStodelle'srecreationoftheHumphreysolo,TwoEcstatic
Themes(1931).Stodelle'sintentionistobringbackadancethatcloselyresembleswhatshe
remembersas'theoriginal',whichshequalifiesasHumphrey'sperformancesofthedance
(Stodelle,Interview:1986).Stodellehasbeenrecreatingsoloandensembledancesby
Humphreysince1973.The'recreation'aspectofStodellespracticerefersspecificallytothe
processofbringingeachdancetogetheragainfromfragmentaryevidence,muchaswas
earlierdescribedbyManning.Inaddition,thereareelementswithineachdance,tovarying
degrees,whichhavebeencreatedbyStodelleherselfbecausetheevidenceisincomplete.
OneexampleistheblackandwhitesilentfilmofHumphreydancingTheCall/BreathofFire
(1929/30)5inwhichtherearemomentswhenHumphreydancesinandoutofthelight,
leavingsomeofthemovementobscured.Stodellefilledinthesemomentsinpartfrom
memory,asshehadseenHumphreyperformthisdancemanytimes;inpartthroughwhatdid
existofthedancebeforeandafterthegaps;andinpartthroughherknowledgeofthestyle
(Stodelle,Interview:1990).StodellewaswiththeHumphreyWeidmanCompanyduringthe
periodoftimeinwhichHumphreydevelopedandarticulatedthephilosophyofhermovement
style,aperiodwhichalsocoincidedwiththecreationofthedancessubsequentlyrecreatedby
Stodelle.HavingthisphysicalanddynamicknowledgeenabledStodelletofindalogical
transitionfromonesetofgivenfactstoanother,"ifDoriswasmovinglikesointhisphrase,
andendedtheresixbeatslaterthereareonlysomanypossibilitiesforhowshegotthere"
(Stodelle,Interview:1990).Incompleteevidenceislikelytobeafactorinmany
productions,anddirectorswillinevitablyincorporateaspectsofthemselves,albeitas
conduits,withinawork,whetherintentionallyornot.ArtistssuchasStodelleandHodson
andArcherallowthemselvestoengageincreativeinterventionwheretheybelievethe
evidencebothrequiresandwarrantsthis,andarenotcompletelyboundbywhatmayappear
tobeauthenticdocumentaryevidence.
Attheotherendofhercontinuum,thoughnotnecessarilyopposing,Manningplaces
reconstructionswhichinvolvesignificantinterpretation,andherecouldsitMinoNicholas'
versionofanotherHumphreysolo,TheBanshee(1928),recreatedinitiallybyEleanorKing.
Thisrolewasoriginallyintendedforawomancostumedasanetherealspirit,andNicholas
casthimself,inKabukimakeupandwig(Dils,1993a:102).Stodelleintentionallysetoutto
4

recreatethedanceassherememberedit,fromthenumeroustimesshehadseenHumphrey
performthework.Nicholaslikewiseembarkedonadeliberatecourseand,whilsthavingno
evidencedirectlyattributedtohimwithwhichtodeterminehisintention,thefactthathecast
himselfintheroleisperhapsmoreindicativeofaperformerorientedintentionthanone
relatingtotheworkitself.Ifoneweretocategorise,Stodelle'sworkismoreakintothatof
HodsonandArcher,intermsofreconstruction,thoughsheherselfpreferstheterm'recreation'
(Stodelle,Interview:1995).Nicholas'workisfarmoreradicalandheusesarangeofterms
todescribehisproductions,includingtranscribed,revised,recreationandbasedon
(Dils,1993a:152).ObservationsmadebyDils(1993a:144171)andlatercommentators
(Siegel,1996:4;Garafola,1996:119)suggestthatNicholashasprimarilybeenengagedin
producingtheatricaleventswhichhappentobeworksbyDorisHumphrey,whereasStodelle
worksfromwithintheHumphreytraditioninordertoadvancethattradition.
Dils(1993b)referstothenotionofcoauthorshipinheranalysisofRayCooks
reconstructionofHumphreysDawninNewYork(1956).Cooksprocesswithanumberof
Humphreyreconstructionsoverthepastdecade,asregardsthedocumentaryevidence,has
beenfarmorewidereachingthantheonesIhavebeenengagedwithtodateinthatheis
literallyreconstructinglostwork(Cook,1998:75).Thisisreflectiveoftheprocessesused
byHodsonandArcher,andStodelle,andinvolvedrebuildingfromfragmentsofevidence,
includingpartiallycompletedsectionsofLabanotation,photographs,memoriesoforiginal
performersandHumphreysnotes.Therewerealsogapsinthisbodyofevidencethat
requiredcreativeinterventiononCookspartinordertoproduceacohesivewhole,muchin
thesamewaythatStodellehadtoactwithTheCall/BreathofFire.Inrelationtolostwork,
therefore,theproductionprocesscouldbequantifiedashavingtwopredominantphasesthe
prerehearsalstagewhichencompassestheconstructionofadocumentrepresentingthe
work,andtherehearsalstagewhichinvolvestherealisationofthatdocument.The
productionworkIhaveundertaken,incontrast,hasbegunfromadocumentthatis
relativelycompleteintermsofitsvocabularyandstructureand,therefore,ismoreinlinewith
experienceencounteredbytheatredirectorsworkingfromascript.Whilstthereare
distinctionsintheprocessesinvolvedinreconstructionasundertakenbyCookandthe
approachesIusefortheprerehearsalstagewhentheinterpretationisbeingformulated
thereisalsocommonground.TheevidenceavailabletoCook,HodsonandArcher,and
Stodelle,forexample,wasconsiderablylesscompletethanthatwhichhasbeenavailableto
me.Thecommonalityrelatestotheprinciplesadoptedtoview,considerandselectfromthat
bodyofevidenceonceithasbeencompiled,aswellasduringtheretrievalprocess.
Afurtherissueforconsiderationhereistheextenttowhichmypracticeincorporatesthe
elementofcoauthorshipincomparisonwiththepracticeofthosecitedabove.Thedegreeof
involvementmayappearconsiderablylessinpracticalterms,giventhescaleofmaterialthose
artistshavehadtofindand/orcreate.DawninNewYork,forexample,wasmissinganumber
ofshortsectionsthatcomprisedonethirdofthework.Cooksmorerecentventure,Fantasy
inFugue(1952),hadtheentiresecondmovement(ofthree)missingthatwassubsequently
rebuiltfromphotographsandthememoriesofoneoftheoriginaldancers.Myproduction
processeshavenotrequiredthislevelofdetectiveworkbecauseoftheexistingmaterials
available.Oneofthedirectorialtasks,however,isensuringthatwhatmaterialHumphreyhas
leftcanspeaktoday,sothatitcanmakesensetoday.Inthatcontext,therefore,theaspectof
coauthorshipissubstantiveinmyworkbecauseIbelievethechoreographercannotspeak,
norcanthechoreography,withoutthisintervention.
5

Inpositioningmyselfwithintherangeofpracticediscussedhere,thenotionofco
authorshipisparticularlyusefulbecauseofthebreadthofpossibilityitoffers.Ifone
considerstheactivitiesofStodelleandCook,whilsttherearesignificantelementsoftheir
respectivepracticeswhichdifferfrommine,acommonaspectisthatthedirectorapproaches
theworkoneventermswiththechoreographer.Thisdirectorialactivityisunderpinnedbyan
empowermenttobecreativewherecreativityiscalledupon,andthatempowermentis
engenderedbyworkingfromwithintheHumphreytradition.Whereourpracticesdiverge
isinthecontextinwhichcreativityexistsorisemployed.BothStodelleandCookbegin
fromapremiseoflocatingandproducingHumphreyswork.Ibeginfromthepremiseof
exploringHumphreysworktodiscoverwhatmoreitcouldsay.Inrelationtotherangeand
natureofdirectorialpracticeIhavebeenengagedinsince1995,adevicethathasprovedto
beilluminatingistheadoptionofacontinuumastherearecleardistinctionsacrossfour
worksthathavebeenstagedduringthisperiod.ThefourdancesareWaterStudy(1928),The
Shakers(1931),WithMyRedFires(1936),andPassacaglia(1938),chosenbecausetheyare
representativeof,arguably,Humphreysmostformativedecade6.
Interpretiveandcreativechoiceswithinthedirectorialprocess
Acentralaspectofmydirectorialprocessisthesearchtofindsomethingnewinthework.
IntegralwiththisisCollingwoodsnotionofthelivingpastandhowonecanreachthat.
Collingwoodslivingpastimpliesthattherecanbecontinualevolution.Hisargument,
presentedearliercitedtheHegelianspiral,definedashistorytravellinginspirals,with
apparentrepetitionsdifferentiatedbyhavingacquiredsomethingnew(Collingwood,1993:
114).Ifoneappliesthistooneinstanceofaworksperformancehistory,thespiralandits
acquisitionsbecomeclear.ThecentreofthespiralisHumphreysoriginalproduction;
dancersfromthatoriginalproductionperformitmanytimeswithnumerouscastchanges7;
dancersfromthatfirstgenerationdirecttheworkforthenextgenerationwhohavenothad
theexposuretothesource,thechoreographerherself,buthavehadanimmersioninthestyle
andphilosophy;dancersfromthisnextgenerationpassitonagain,inatimewhendance
techniqueandtraininghaschangedoutofallrecognitionintheseventyplusyearssincethe
spiralbegan.Ifnothingelseaboutthedanceisconsciouslyaltered,thepassingoftimehas
createdanevolutiontosomeextent.Applyingthisconcepttothedirectorialprocessitself,
eachtimeadirectorembarksonanewproduction,thatproductionwillinevitablybe
influencedbythedirectorspastexperiencesoftheworkandwithinthestylistictradition.In
myowncasethisinvolvedperformanceexperiencewithStodellealongsideassistingherin
thedirectionofworksforothercompanies.Themostsalientpointhereisthespiralbackto
thesource,Humphreyherself.Thatconnectionisfundamentaltomydevelopmentasadance
artistworkingwithintheHumphreytraditionasperformerordirector.Theexistenceofthis
connectioninspires,frommyownperspective,artisticconfidenceintermsofallowingwork
toevolvewithinparametersthathavethecapacitytoevolve.
Theinitialstagesofadirectorialprocessinvolvestheresearchandconsiderationofthose
elementswhichcouldberegardedasconstitutingthework,andwhichcontributetothe
directorialunderstandingoftheworkanditssubsequentinterpretation.Thisprocessbegins
withtheevidence,togainsomeinsightintothechoreographer'sintentionandthework's
theme.Importanttomyapproachisthesearchfortracesoftheartist'sintention,andthatthis
searchbeginswithevidencegeneratedbythechoreographer.Collingwoodsperspectiveon
theviewingofevidenceisparticularlyusefulhere.Heassertsthatthebusinessofthe
6

historianistodiscoversomethingthroughtheinterpretationofpotentialandactualevidence
potentialbeingallexistingevidenceandactualbeingthepartsoftheevidencethe
interpreterchoosestoaccept(Collingwood,1993:280).Iwouldfurtherdistinguishthe
considerationofevidenceinmyprocessashavingtwophaseswiththeelementofchoice
beingdistinctiveineachphaseinrelationtoCollingwoodsviewingmodel.Thefirstphase
focusesonthesearchfortracesrelatingtointentionandwillnecessarilydrawupona
limitedpoolofevidenceasIchoosetoacceptonlyevidenceattributabletoandgeneratedby
thechoreographer.Thesecondphaseencompassesamuchwiderconsiderationofprimary
andsecondaryevidence,thustheelementofchoiceismorewidereachingbecausethescale
ofmaterialissomuchgreater.
Inrelationtothefirstphase,theactualevidenceforthesedancesisrootedinwhat
Humphreyhassaidaboutthenatureofthework,thetheme,thechoiceofmusic,the
charactersiftheseexist,anyindicationfromherofhowthisworkcameintobeingand
suchindicationsdoexist.Visualreferencescanmakeavaluablecontribution,iftheycanbe
directlyattributedtothechoreographer.Afilmedversionoftheworkdirectedbythe
choreographercouldbetermedaprimarysource,ascanphotographicevidence,although
Humphreywasknowntocreateposesthatwerenotactuallyinthedancebutwouldfitintoa
photographer'sstudio(Stodelle,Interview:1985).OneexampleistheBarbaraMorgan
photographofTheShakers,includedinthesupportingdocumentationwiththeLabanotation
score.ThephotographdepictsHumphreyastheEldresswithsixotherdancers,including
CharlesWeidmanandBeatriceSeckler.Evidenceofthisnatureshouldperhapsbeviewed
withsomecautionbecausetherepresentationisincomplete,however,therearestillcluesto
befoundinHumphreysfacialexpressionandintheupperbodygesturesandpositions.
WithHumphrey'sworks,byandlarge,themovementvocabularythedirectoruseswillbe
basedontheLabanotationscore.Thisdocumentwillgiveoneversionofthemovement
vocabulary,aswitnessedbythenotator,whichcanbeilluminatedfurtherthroughthe
processesalreadyidentified.AfurtherindicatorisHumphreyherself,dancingduringthe
periodoftimewhentheworkwascreatedasthisillustratesdynamicandhowsheactually
executedmovement.Oneexample,fromTheFourPioneersfilm(Mueller,1965),isashort
excerptfromDuoDrama(1935),inwhichHumphreyandWeidmanexecuteaseriesofside
leaps,fallsandtiltswhichareconsistentlyweightedandhaveasenseofabandonandverve.
Thiswouldseemtobeaclearindicatorofstylisticquality.Therearefurtherexamplesfilmed
atseveraloftheBenningtonSummerSchoolsthatarehousedintheHumphreyCollectionat
theNewYorkPublicLibrary.TheseincludeDorisHumphrey(ca.1938),whichhasfootage
ofHumphreydemonstratingthecircularfall,whichhasrelevanceforWaterStudy,andtwo
excerptsfromPassacaglia,oneofwhichshowsHumphreydancingtheturnsoloandbell
theme,andthesecondshowsHumphreyrehearsingagroupofwomeninexcerptsfromthe
work.YoungAmericaDances(1939)showsbrieffragmentsofHumphreyandWeidman
dancingandofHumphreyteachingclass,andStudentsandTeachersatBennington(1939/40)
hasfootageoftheHumphreyfallsside,backandspiral,andagainisrelevantforWater
Study.Whilstfilmmaynotbeasusefulindeterminingintention,itwouldclearlyhavevalue
here,asthefootagethatexistsissparsebutclear.
Afurtherexampleofactualevidenceisthemusical/rhythmicalaccompanimentforthe
choreography.WiththeexceptionofWaterStudy,whichisinsilence,onestartingplaceis
therecordingusedbythechoreographerasthisshouldconveythephrasinganddynamics
7

heardatthetimeofcreation,whichinturnwillconveycluestotheexecutionofmovements
andmovementphrases,andpossiblytotheunfoldingscenarioofanyactionornarrative.It
shouldalsobeacknowledged,however,thatmovementdynamicscanbedifferenttothose
containedwithinthemusic.Withregardtotheexecutionofmovementandmovement
phrases,LeopoldStokowski'sinterpretationofBachsPassacagliaandFugueinCMinor,
whichwasHumphreyspreferredversion,providesoneexampleinthePassacaglia
variations15,entitled'Lyric',and16'Turns8.Theformerhasadistinctlyquiet,gentle
quality,precedingthesweeping,boomingsoundthataccompaniesthetechnicallyvirtuosic
turnsequence.Theprogressivecontrastinthesoundaddstothedramaticprogressionofthe
workand,morespecifically,thequalitiesheardinthesoundcantranslatetothemovement.
Thedirectorcanbeconfidentinpursuingthisbecausetheevidencemakesclearthat
Humphrey'smovementwascloselyinfluencedbythemusicssoundandstructure,andby
thisparticularconductor'sinterpretation.Afurtherexample,inPassacagliavariation17
'Mens',istheopeningarmgestureprecedingajumpsequence.Byadoptingthemusical
timingandsoundoftheStokowskiorchestration,whichconsistsofalong,resonatingdotted
quaverreleasingintoastaccatosemiquaver,thegesturecanbepulledoutandsuspended,
allowingthejumptoburstforth.Otherrecordingsdonothaveacomparabledegreeof
resonanceorstaccato,sothesenseof'suspension'isnotaspronounced.Thisparticular
emphasisappearsinnumerouspassagesthroughoutthework,andissignificantbecause
'suspension'isafundamentalstylisticelementinHumphreysworkand,therefore,the
Stokowskiinterpretationcouldbeseentobestylisticallyappropriate.
Onceevidencehasbeenconsidered,onehasasenseandideaofthechoreographer's
intentionandthethemeofthework.Giventhatmyintentionistocreateacontemporary
productionratherthanahistoricallylocatedreconstruction,itisrelevantatthisstageto
considerthepossibilitiescontainedwithinthethematicaspectofthework.JonathanMiller
refersto"lookingthroughcontemporaryeyesatwhataplaywasexpressinginthepast"
(Miller,1986:121),whichIwouldtakefurtherbysuggestingthatwhatthethemewasinthe
pastmayonlybecleartodaybyexpressingitinthepresent,inacontemporarycontext.An
exampleofthisisWithMyRedFires.Humphrey'sscenarioisbasedonapossessive,
destructivematriarchallove,whichalsodepictsintoleranceandprejudice.Fora
contemporaryproduction,athemeofpossessiveloveisnotdramaticallyinterestingor
challengingfrommydirectorialperspectiveas,inWesterncontemporarysociety,theideaof
ayoungwomanleavinghermotherdoesnothavetheconnotationitwouldhavehadinthe
late1930swhenthedancewascreated.However,ifthethemeisshiftedtootherelements
Humphreyindicated,possibilitiesthatdohaveacontemporarycontextcouldbeconsidered.
Humphreys choreographic canon was noted for a recurring theme of idealism, and she
had not ventured into the darker side of the human psyche until she created With My Red
Fires. The dance has a colour and tone that is notably distinct because of its dark and
dramatic connotations, and the narrative and characterisation. Siegel observed that "Doris
pulled back from the demonic theatricality she had uncovered, almost in spite of herself, in
Red Fires" (Siegel, 1993 : 165), which would seem to concur with this notion. Furthermore,
Humphrey did not venture into this dark territory again. My initial responses to the dance
were based on a black and white film of the version Humphrey had staged at Juilliard in 1954
and, subsequently, the Labanotation score (1964) and a film of the dance by the American
Dance Festival in 1978. I was inspired by the dramatic power, but even more so by the
potential I felt was there for the dance to speak meaningfully within a contemporised context.

Humphreys narrative was based on possessive love, but underneath this lies the secondary
and inter-related themes of intolerance, ignorance and bigotry, which I felt could be drawn
out and given greater prominence.
In considering a shift of emphasis within the narrative, attention had to be given to the
place and relevance of Humphrey's central characters. It has been acknowledged (Siegel,
1993; Cohen, 1995) that Humphrey intended these to be symbolic rather than literal
characters, which could imply a certain open-ness. What must also be considered, however,
is whether a production claiming to be an interpretation of With My Red Fires could
legitimately make that claim without the Matriarch figure, for example, as this character is
pivotal to the narrative. However one approaches the interpretation of this work, the
existence and presence of this central figure are integral to the development of the narrative.
Whether the character actually needs definition as 'The Matriarch' is a different question, for
the dancers and the audience. A less definitive alternative would be to identify this role as
the Central Figure, for example, and this has been adopted for my interpretation.
Humphrey gives a clear indication of how this character influences the action and scenario
when she talks about the old woman screaming from the top of the house' (Cohen, 1995:
140). This particular description is significant, because the action it refers to instigates a
transition for the massed group, from being a benign entity into something darker and more
destructive. Humphrey's description certainly creates an evocative image for the director, but
the issue here is how the image is dramatised. Part of the directorial challenge, therefore, has
been to discover the means by which Humphreys image could be conveyed.
Two particular photographs of Humphrey in this role have been integral to the
interpretation. One is by the dance photographer Barbara Morgan and the other is in the
collection of the Dance Notation Bureau. In the Morgan photograph (DHC/NYPL),
Humphrey is caught facing the camera, arms stretched wide to the sides, hands in fists with
the left holding the wide swirling skirt. The motion of the skirt suggests she is in mid-turn, as
the fabric swirls upwards in a spiral from low on the right, around her back and up to the left
fist. There is a sense of suspension to the movement, which is also bound, strong and direct.
These qualities are also evident in the DNB photograph in which Humphrey is seen in profile,
standing tall on top of the box which represents the Matriarchs house. In addition to the
movement quality, the juxtaposition of set, costume and movement further emphasises the
power of this character, as the hem line of the dress falls at least a foot below the top of the
box, with the overlap creating the illusion of an elongated and superhuman force. The
combination of movement qualities identified in both photographs induces the sense of
suspended stillness, which is key to the interpretation of this role. As director, I have
chosen to give prominence to these images in my interpretation over others because of my
belief that the psychological drama induced by this character can be better conveyed for a
contemporary context in a more subtle, internalised manner than the exaggerated and
pantomimic portrayal of the role as notated and performed in the 1978 film.
Considerationanddeterminationofawork'sthemealsoencompassesitslocation,or
setting.Thedistinctioncomesinthedegreetowhichthiscanhappenandislikelytodiffer
fromworktowork.IfTheShakers,forexample,islocatedataprayermeetinginaShaker
meetinghouse,asHumphreydid,itisdifficulttoseewhatelsethedancecouldbe'about'
fromanaudienceperspective.Furthermore,withsuchatitleandsuchasettingitisclear
whatitis'about'beforethedancebegins.Forareconstructionthisisasitshouldbe,but,by
consideringthelocationfromametaphoricalperspective,thereareother,newpossibilities.
InrelationtostagingaShakespeareplayBillAlexandertalksabout'transposingtosome
9

10

otherperiod,tounleashtheplay'(inBerry,1989:178).Inapplyingthisapproachwithina
dancecontext,suchaproductioncanstillcontainaspectsofthechoreographers'intention',as
farasthiscanbedetermined,andherchoreography,intermsofmovementandstructure.
TheinitialsourceformyinterpretationofTheShakershadbeenHumphreysmovement
vocabularyandherjuxtapositionofsymmetrywithasymmetry,whichIwantedtoexplore
throughextendingtheexistingstructure.Transposingthesettingtosomewherespecific
wouldnothavebeenappropriate,asthatwouldretainaliteralemphasis.Transposingto
somewherenonspecific,however,removedtheliteralelementaltogetherandallowedfora
moreopenreading.Theensuingprocessinvolvedremovingalltraceofthenarrativecontext,
includingidentificationofindividualroles,costumeandtheoriginalmusicscore,andthe
productionitselfwasnolongerrecognisableasTheShakers.9
Thestagingofthesefourworkshasacontemporaryperspective,andincorporates,in
differentwaysthepositionshighlightedabove.Ithasbeenenlighteningtoseewhereonthe
continuumtheindividualdanceslay,aseachisquitedistinctinnatureandeachhasthe
capacityformorethanoneapproach.Acentralfactorinalltheproductionprocesseshas
beentheaspectofcoauthorship,andhowthishasevolvedwithinthespecificcircumstances
ofeachworkanditsinterpretation.TheShakershasbeenthemostradicalexperience,
althoughtheinitialintentionhadnotbeentocreateanewworkbuttoexplorewhatthe
choreographycouldrevealwithoutitsliteralelements.Thisactofexploration,fromitsbasis
inhistoricaldocumentaryevidencerevealed,infact,anewdance,althoughsignificantparts
ofHumphreyschoreographicvocabulary,structureanddesignremainunaltered.Theextent
ofchangemayraisethequestionastowhetherthisnewworkshouldbequantifiedasco
authoredratherthananoriginalworkbymyself.Theartisticintentionunderpinningthe
productionwastoexplorecreativelyratherthantocreateinitself.Humphreyprovided
thewords,Iprovidedthecontextinwhichthosewordsareuttered,andthenatureofthat
contextissuchthatthewordsnowrevealaquitedifferentmessage.Thismaybetakingco
authorshiptoitsedge,asthecreativeinterventiononmyparthasproducedaworkthatcould
notbecategorisedasbyDorisHumphrey.However,tocategoriseitasbyLesleyMain
wouldalsobeinaccurate.Humphreysdancewasnotsimplyastimulusformyowncreation,
hermaterialformsasubstantialpartofthenewwork,andtoleavethisunacknowledged
wouldamounttochoreographicplagiarism.Thecoauthorrelationship,therefore,servesas
themostaccuratedescriptorforworkofthisnature,withthecontinuumbeingausefuldevice
toanalysethedegreeofcreativeinterventionwithineachproductionprocess.
TheideasandprinciplesdevelopedhereinrelationtoHumphreysworkarenotexclusive
tothisparticulartradition,andcouldhavesignificantimpactinawidercontext.Modern
danceisintheearlystagesofdevelopingitsownhistoryincomparisonwiththemucholder
andestablishedformsofclassicalballet,musicandtheatre.Humphreyisapertinentmarker
fromwhichtodevelopprocessesthatwillbothmaintainandextendanartistictradition.Of
themajormoderndancefigures,Humphreyisthefirstwhosetraditiondoesnotremainsolely
withintheremitandresponsibilityoffirstgenerationperformersasthepassingoftimehas
necessitatedinterventionbythenextgeneration.Ifonedefinesfirstgenerationperformers
asthosewhohavehadadirectassociationwiththeirchoreographer,MarthaGraham,for
example,hasafirstgenerationwhichisfarmoreextensiveincomparisonwiththegroupof
HumphreyWeidmanandHumphreyLimndancerswhoconstituteHumphreysfirst
generation,asdomorerecentfiguressuchasMerceCunninghamandPaulTaylor.

10

11

Despitetheongoingworkoffirstgenerationexponents,therewillcomeapointinthe
individualhistoriesoftheartistictraditionswhentheperpetuationoftherepertoiresandthe
underlyingmovementstylesandphilosophieswillbecometheresponsibilityofartistswhodo
nothavethatdirectassociationwiththechoreographer.Thiswillalsobethepointatwhich
theexistingbodyofevidenceforaspecifictraditionwillneedtobedrawnuponinwaysthat
maynotberequiredatthistimebecauseofthecurrentprevalenceoffirstgeneration
knowledgeandexperience.Grahamwasreluctanttohaveherdancesnotated(Stodelle,1985
:Interview),meaningthatevidenceofthisnaturedoesnotexisttoanylargeextent.A
significantbodyofevidenceonherdancesdoesexist,however,intheformoffilmandvideo
recordings,photographsandGrahamsnotebooks.Taylor,bycontrast,embracednotationas
aformofrecordingandhashadthemajorityofhismajorworksnotatedeitherduringthe
choreographicprocessorduringrevivalsforhisowncompany(Kane,2000:77).His
willingnesstodosoindicatesnotonlyadesireforhisdancestocontinuebeingstaged,but
alsoanacknowledgmentthat,oneday,thisactivitywillbeundertakenbysomeoneotherthan
himselforhisimmediateassociates.
Suchadevelopmentisnotimminentbutitisinevitable,andmoderndanceasafield
shouldbereadyforthetransitioninordertoprotectthegreatworksthatourmajorartists
haveproduced.ItispossiblethatHumphreysPassacaglia(1938),GrahamsClytemnestra
(1958),orTaylorsLastLook(1985)couldhavethelongevityofKingLearorTheCherry
Orchard,asthestrategiesexisttokeeptheworksaliveandvibrant.Asaresult,modern
danceaudienceswouldbecomeaccustomedtoseeingproductionsofthesameworkwithina
rangeofinterpretationsinthesamewaythattheatreaudiencesareaccustomedtoviewing
interpretationsofShakespeare.ProductionssuchasthosepresentedbyTheGlobeTheatre,
bydirectorssuchasPeterBrook,andthequiteradicaltreatmentsfavouredbythelikesof
PeterSellarsandRobertWilsonillustratethecapacityofaworktosurviverepeatedand
divergentintervention.Danceworkshavethesamecapacity.Theissueisnotjustaboutthe
practicalengagementwithaworkfromanartisticperspective,however.Itisalsoaboutthe
perceptionofawork,andtheprocessesthroughwhichwedeterminewhataworkisand,
moreover,whataworkcanbe.Inacomparisonwiththeatreandopera,Siegelwarns
againstthewholesaletransformationofadanceworkifartisticlicenseistakentoofar
(Siegel,1993:15).Iagreeiftheintentdrivingaproductionissimplytoproduceatheatrical
event.However,iftheintentistoproducetheworkfromwithinthestylistictradition,ina
processthatencompassesthebodyofevidencerelatingtothatparticularwork,Isuggestthat
theworkasanentityisrobustenoughtowithstandrepeatedanddiverseinterpretation.
Whatevertakesplaceduringaninterpretiveprocess,thebodyofevidencewillremain,aswill
thestylisticphilosophy,andbothaspectsmaybeextendedasaresultofnewinterpretation.
Theprocessesarticulatedhereallowforfurthercreativepractice,contingentonadifferent
selectionandreadingofevidence.TheHumphreyworksdiscussedinthisarticlewill
undoubtedlyberevisited,butmysubsequentdirectorialprocesseswouldnotnecessarily
includethesamechoicesintermsofprivilegingoneparticularformofevidenceoveranother.
AdoptingtheCollingwoodstanceinrelationtoevidenceallowsforafreshapproachtothe
samedocumentation.WithPassacaglia,thefocusonthesound,whichhasbeenthemajor
influencetodate,couldgivewaytoanotheraspectsuchasHumphreysreactiontowar
whichwasanunderlyingthemeforher.Adoptingsuchanapproachcouldhavetheeffectof
shiftingtheemphasisfromabstractiontoathematicorevennarrativeinterpretation,to
discoverwhatHumphreysvocabularycansaywithinsuchacontext.Similarly,new
11

12

emphasescouldbeidentifiedinWithMyRedFires,intermsofthenarrativeand
characterisationwhichwouldinturn,elicitnewreadings.
Theseproductionprocessesandresultingperformanceshaveenabledmetobothcritique
anddevelopexistingtheoreticalapproachestoreconstruction,andtodemonstratethatcurrent
practicecanbeextendedeffectively.TheproceedingsforPreservationPolitics,themost
recentinternationalconferenceondancereconstruction,containreferencetotheintroduction
ofperspectivesfromShakespeareedition,operaandtheatreandhowadvancedthinking
fromotherartformsposesachallengetothedancecommunity(Jordan,2000:Preface).
Thefindingsdrawnfrommyresearchdemonstratetheapplicationofsuchperspectiveswithin
adancecontextandshowthattheartformcannotonlywithstandexternalinterventionbut
canbeenhancedbyitspresence.Thefourdancesthathavebeenstagedalongwith
accompanyinganalyticalinvestigations10indicatethescopethatexistsfordirectorial
interpretationinrelationtomoderndanceworks.Duringthecourseofmyresearch,
theoreticalconstructsdrawnfromhistory,philosophy,literaryandtextualcriticismandfrom
performingartspracticeitselfhavebeenappliedtotheresearchandstagingofthesefour
dances.Asaresult,theprinciplesthathavearisenandbeentestedbythesestagingshavethe
potentialtoimpactonawiderfieldofcreativepracticeandtheory.Mostspecifically,
however,bydisruptingconventionalnotionsofreconstructionandauthenticity,revealingthe
instabilityofaperformancetextyetretainingitsstylisticimperatives,privilegingtheroleof
coauthor/directorandincorporatingtheimaginativemanipulationofevidence,thedance
worksofhistorycanremainaccessibletofuturecreators,performersandaudiences.The
approachesthathavebeenidentifiedhavethepotentialtoproduceavibrant,groundedand
creativeenvironmentinwhichtheindividualworksandthewidertraditioncanbothexistand
continuetoflourish.
Endnotes
HumphreystheoriesofmovementarearticulatedbyherinthefollowingstatementsThedesiretomove

stimulatesorganicmattertoreachoutfromitscentreofequilibrium(DorisHumphreyCollection:folder
M65);Tofallistoyield;torecoveristoreaffirmonespowerovergravityandoneself(HumphreyinRand
Rogers,ed.1980[1941]:189);Fallingandrecoveringistheverystuffofmovement,theconstantfluxwhichis
goingonineverylivingbodyallthetime.Iinstinctivelyrespondedverystronglytotheexcitingdangerofthe
fall,andthereposeandpeaceofrecovery(HumphreyinRandRogers,ed.1980:189).SeealsoStodelle,
Ernestine(1995);Cohen,SelmaJeanne(1995).
2

SeeTopaz,Muriel(2000),pp102104andThomas,Helen(2003),pp110111forfurtherreferencetothe
evolutionofthedancingbody.

3
SeeWhite,Hayden(1978,1987),LaCapra,Dominick(1985,1989),Tosh,John(1993),Mink,Louis(1972),
Goldstein,Leon(1972,1990,1994)formorerecentdiscussionandanalysisoftheideasandissuesraisedby
Collingwood.

FullerdiscussionofthisprincipleiscontainedinScarpettasmonographLImpuret,(1985),Paris:Grasset

ThisfilmishousedintheHumphreyCollectionatNewYorkPublicLibrary.

Thesedanceswereinitiallystagedaspartofmydoctoralresearch .Productiondates:WaterStudy,2000;The
Shakers/DanceoftheChosen(2001);WithMyRedFires(2001,2004);Passacaglia(1995,2005)
6

12

13

TheShakersandWaterStudy,forexample,wereperformedaspartoftheBroadwayreview,Amerciana1932.
Thedancers,therefore,hadthephysiologicalandperformativeexperienceofthesedancesdailyformany
months.
8

HumphreyadoptedthetermvariationtostructurePassacaglia,givingeachindividualphraseaspecific
title.
9

Acompleteexpositionofthisproductionprocessandtheconsequentialimpactofthisformofinterventionis
containedinFindingDanceoftheChoseninTheShakers,Chapter7unpublishedPhDthesis,LesleyMain
(2003).
10

SeeTheDancesofDorisHumphrey:aninvestigationintoDirectorialprocessandCoauthorship,
unpublishedPhDthesis,LesleyMain(2003).

Bibliography
Archer,KennethandHodson,Millicent(2000)ConfrontingOblivion:KeynoteAddress
andLectureDemonstrationonReconstructingBalletsinJordan,Stephanie,ed.
PreservationPolitics:DanceRevived,Reconstructed,Remade,London:Dance
Books
Berry,Ralph(1989)OnDirectingShakespeare,London:HamishHamilton
Brown,Tom(1993)DocumentingandRetrievingNijinskasLesNoces,inPalfy,Barbara,
ed.ProceedingsoftheConferenceDanceReconstructed,NewJersey:Rutgers
University,2740
Cohen,SelmaJeanne(1972/1995)DorisHumphreyAnArtistFirst,CentennialEdition
NewJersey:DanceHorizons
Collingwood,RobinG.(1943/1993)TheIdeaofHistory,Oxford:OxfordUniversityPress
Cook,Ray(1998)FillingintheGaps:DawninNewYorkFantasyandFugueinDoris
Humphrey:ACentennialIssue,ChoreographyandDance,4Part4,7592
Dils,Ann(1993a)ReconceptualizingDance:ReconstructingtheDancesofDoris
Humphrey,unpublishedPhDthesis,NewYorkUniversity
Dils,Ann(1993b)PerformancePracticeandHumphreyReconstructions,inPalfy,Barbara,
ed.ProceedingsoftheConferenceDanceReconstructed,NewJersey:Rutgers
University,223228
Eliot,ThomasS.(1917/1975)TraditionandtheIndividualTalentinKermode,Frank,ed.
SelectedProseofT.S.Eliot,London:Faber
Franko,Mark(1989)Repeatability,ReconstructionandBeyond,TheatreJournal,41,no.1,
March,5674
Garafola,Lynn(1996)ReviewsNewYorkCity:DorisHumphrey:acentennial
celebration,andthe1995internationalDorisHumphreyCentennialCelebration,
DanceMagazine,February,119120
Goldstein,Leon(1972)CollingwoodontheConstitutionoftheHistoricalPastinKrausz,
Michael,ed.CriticalEssaysonthePhilosophyofR.G.Collingwood,Oxford:
ClarendonPress
Goldstein,Leon(1990)TheIdeaofHistoryasaScaleofFormsinHistoryandTheory,29,
no.4,4250
Goldstein,Leon(1994)ConceptualOpenness:HegelandCollingwoodinBoucher,David,
ed.TheLifeandThoughtsofR.G.Collingwood,UniversityofWales:R.G.
CollingwoodSociety
13

14

Humphrey,Doris(1941)MyApproachtotheModernDancereprintedinRandRogers,
Frederick(1941/1980)Dance:ABasicEducationalTraining,NewYork:Macmillan
Humphrey,Doris(circa1930)FolderM65,DorisHumphreyCollection,NewYorkPublic
Library
Jordan,Stephanie,ed.(2000)PreservationPolitics:DanceRevived,Reconstructed,Remade,
London:DanceBooks
Kane,Angela(2000)IssuesofAuthenticityandIdentityintheRestagingofPaulTaylors
AirsinJordan,Stephanie,ed.PreservationPolitics:DanceRevived,Reconstructed,
Remade,London:DanceBooks
LaCapra,Dominick(1985)HistoryandCriticism,USA:CornellUniversityPress
LaCapra,Dominick(1989)SoundingsinCriticalTheory,USA:CornellUniversityPress
Main,Lesley(2003)TheDanceofDorisHumphrey:aninvestigationintoDirectorial
processandCoauthorship,unpublishedPhDthesis,UniversityofSurrey
Roehampton
Manning,Susan(1993)EcstasyandtheDemon,London:UniversityofCaliforniaPress
Mink,Louis(1972)CollingwoodsHistoricism:ADialecticofProcessinKrausz,
Michael,ed.CriticalEssaysonthePhilosophyofR.G.Collingwood,Oxford:
ClarendonPress,154165
Miller,Jonathan(1986)SubsequentPerformances,London:Faber
RandRogers,Frederick(1941/1980)Dance:ABasicEducationalTraining,NewYork:
Macmillan
Scarpetta,Guy(1985)LImpurete,Paris:Grasset
Siegel,MarciaB.(1993)DaysonEarth.NewHaven:YaleUniversityPress
Siegel,MarciaB.(1996)HumphreysLegacy:LossandRecallinHumphreyCentennial
Edition,DanceResearchJournal,28,no.2,Fall,49
Stodelle,Ernestine(1978/1995)TheDanceTechniqueofDorisHumphreyanditsCreative
Potential,London:DanceBooks
Thomas,Helen(2003)TheBody,DanceandCulturalTheory,Basingstoke:Palgrave
Macmillan
Topaz,Muriel(2000)Reconstruction:LivingorDead?AuthenticorPhonyinJordan,
Stephanie,ed.PreservationPolitics:DanceRevived,Reconstructed,
Remade,London:DanceBooks
Tosh,John(1993)ThePursuitsofHistory:Aims,MethodsandNewDirectionsintheStudy
ofModernHistory,London/NewYork:Longman
White,Hayden(1978)TropicsofDiscourse:EssaysinCulturalCriticism,Baltimore:John
HopkinsUniversity
White,Hayden(1987)TheContentandtheForm:NarrativeDiscourseandHistorical
Representation,Baltimore:JohnHopkinsUniversity
Interviews

Stodelle,Ernestine

1985,1986,1990,1995

14

Anda mungkin juga menyukai