Doctor of Philosophy, Case Western Reserve University, 2021, Musicology
Dance is famously ephemeral, and historians of dance must therefore grapple with an astounding number of gaps and uncertainties in the historical record. Often, researchers focus their attention on cultural context, reception history, or the musical score of a dance as the best ways to get close to a choreographic work that has not survived. I propose an alternative approach that centers on the theoretical frameworks that shaped these works. Through an exploration of technologies of representation that were used to record dance in France between 1852 and 1912, including notation, scientific graphs, photography, and film, I demonstrate how dance theory interacted with broader historical discourses concerning representation, temporality, and the body. Attempts to record dance, I argue, reveal how dancers, theorists, and choreographers situated their art in the context of these developments. I also show how methods of dance notation can be taken as a part of a larger history of media and representation in the years around 1900.
Chapter One examines three texts that interlock to strengthen our understanding of the world of dance theory and notation: Arthur Saint-Leon's La Stenochoregraphie, which was re-imagined decades later in Friedrich Albert Zorn's Grammatik der Tanzkunst and Enrico Cecchetti's Manuel des exercises. Stepanov notation, the subject of Chapter Two, turned away from the fashioning of dance theory as grammar. Author Vladimir Ivanovich Stepanov justifies his methods through reference to the ideas, words, and inventions of two French scientists, the neurologist Jean-Martin Charcot and Etienne-Jules Marey, champion of graphical representation. In Chapter Three, I consider the role of cinematic technologies as a medium used to record dance in the first twenty years of its existence. A case study, the comic film Le Piano irresistible (1907, dir. Alice Guy Blache) illustrates my arguments concerning dance, silence, and humor. I conclude in Chapter Four with (open full item for complete abstract)
Committee: Francesca Brittan (Advisor); Susan McClary (Committee Member); Daniel Goldmark (Committee Member); Andrea Rager (Committee Member)
Subjects: Dance; Film Studies; History; Music