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180 pages

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This book offers a series of compelling responses to the Jasmin Vardimon Company’s production of Justitia, a multilayered, multimedia dance theatre piece. Through an innovative, visually annotated text, which includes the original script by Rebecca Lenkiewicz, the book attempts to record the experience of the performance. Also included are nine critical responses from scholars and theatrical practitioners who consider the performance through lenses relating to time, collaboration, writing, confession and the law.

Introduction

Paul Johnson

Analysis and Creation

Nina Stieger

The idea of agency in the Performance of Justitia

Emily Kasriel

Representations of Time in the Performance Justitia

Naom Segal

Ringing True

Libby Worth

Seen by me, It Writes

Felix Ensslin

Hiding in Plain View

Christine Harmar-Brown

Putting Clouds in Boxes

Paul Brill

A Choreography of Words: Reflections on Justitia

Amanda Stuart Fisher

Authorship, Physical Theatre and Justitia

Royona Mitra

Conclusions: "A close friendship among the debris..." Acting, breath and Truth in Jasmin Vardimon's Justitia

Geoffrey Colman

Sujets

Performing Arts

Theatre

Performance art

General officer

Dance

Art

General

Performance

Music

Informations

Publié par	Intellect Books
Date de parution	01 août 2016
Nombre de lectures	0
EAN13	9781783205295
Langue	English
Poids de l'ouvrage	13 Mo

Informations légales : prix de location à la page 0,3840€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

J
u
s
ti
ti
a Edited by Paul Johnson & Sylwia Dobkowska
Edited by Paul Johnson & Sylwia Dobkowska
Tis book offers a series of compelling responses to the Jasmin Vardimon Company’s
production of Justitia, a multi-layered, multi-media dance theatre piece. Trough
an innovative, visually annotated text, which includes the original script by Rebecca JustitiaLenkiewicz, the book attempts to record the experience of the performance. Also
included are ten critical responses from scholars and theatrical practitioners who MULTIDISCIPLINARY READINGS OF THE
consider the performance through lenses relating to time, collaboration, writing, WORK OF JASMIN VARDIMON COMPANY
confession, and the law.
PAUL JOHNSON is associate dean of the faculty of arts at the University of
Wolverhampton, UK, and head of the School of Performing Arts.
JASMIN VARDIMON is a choreographer and artistic director of Jasmin Vardimon
Company which she founded in 1997.
SYLWIA DOBKOWSKA researches visual representations of language in the form of
text and visual art, merging academic theory and design practice.
ISBN 978-1-78320-528-8
00
9 781783 205288 Edited by
intellect | www.intellectbooks.com Paul Johnson & Sylwia DobkowskaJUSTITIA
12Justitia
Multidisciplinary Readings of the Work of
Jasmin Vardimon Company
Edited by
Paul Johnson
&
Sylwia Dobkowska
3First published in the UK in 2016 by Intellect, Te Mill, Parnall Road, Fishponds,
Bristol, BS16 3JG, UK
First published in the USA in 2016 by Intellect, Te University of Chicago Press,
1427 E. 60th Street, Chicago, IL 60637, USA
Copyright © Sylwia Dobkowska, Paul Johnson & Jasmin Vardimon
All rights reserved. No part of this publication may be reproduced, stored in
a retrieval system, or transmitted, in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Series: Playtext
Series editor: Patrick Duggan
Series ISSN: 1754-0933
Cover designer & typesetting: Sylwia Dobkowska
Copy-editor: MPS Technologies
Production manager: Jessica Mitchell
Print ISBN: 978-1-78320-528-8
ePDF ISBN: 978-1-78320-529-5
Printed and bound by Gomer
Photographs by Ben Harries on pages: 14, 15, 86, 87, 88, 130, 134
Py Alastair Muir on the cover and on pages: 6, 7, 16, 17, 18, 22, 23, 24,
27, 28, 31, 32, 39, 40, 41, 42, 43, 48, 49, 50, 51, 52, 53, 55, 58, 59, 60, 61, 63, 64, 66,
67, 68, 69, 70, 71, 72, 77, 80, 83, 84, 85, 92, 100, 110, 111, 112, 122, 126, 142, 155,
156, 157, 169, 170
45STAGE 2
PERFORMANCE
CONTENTS
8 ACKNOWLEDGEMENTS
Jasmin Vardimon
11 INTRODUCTION
Paul Johnson
Performance
Justitia
16 CREDITS
Concept, Direction & Associate Director
Choreography & Dramaturgy
Jasmin Vardimon Guy Bar-Amotz
ScriptwriterCreated with
Rebecca Lenkiewicz& Performed by
Paul Blackman
Costume Luke Burrough
& Set DesignTim Casson
Merle Hensel(or David Lloyd)
Christine Gouzelis
Lighting DesignVictoria Fox
Chahine Yavroyan(or Mafalda Deville)
Athanasia Kanellopoulou
Soundtrack (or Esteban Fourmi)
Design & EditYunKrung Song
Ohad Fishof(or Aoi Nakamura)
Jasmin Vardimon
6
THE FRONT
COVERTHE BACK
COVER
Readings
89 ANALYSIS AND CREATION 101 REPRESENTATIONS OF TIME IN
Nina Stieger THE PERFORMANCE JUSTITIA
Noam Segal
93 THE IDEA OF AGENCY IN
THE PERFORMANCE OF JUSTITIA 113 RINGING TRUE
Emily Kasriel Libby Worth
123 SEEN BY ME, IT WRITES
Felix Ensslin
127 HIDING IN PLAIN VIEW
Christine Harmar-Brown
131 PUTTING CLOUDS IN BOXES
Paul Brill
135 A CHOREOGRAPHY OF WORDS:
REFLECTIONS ON JUSTITIA
Amanda Stuart Fisher
143 AUTHORSHIP,
PHYSICAL THEATRE
AND JUSTITIA
Royona Mitra
159 CONCLUSIONS
“A close friendship among the debris …”
ACTING, BREATH AND TRUTH IN
JASMIN VARDIMON’S JUSTITIA
Geofrey Colman
171 BIBLIOGRAPHY
175 NOTES ON CONTRIBUTORS
7
STAGE 1
A READER
S
T
A
GE 3
RE
A
DI
NG
SACKNOWLEDGEMENTS
I would like to thank all those who engaged their creative minds in analysing
and interpreting Justitia: from the creative team and performers who took an
active role in interpreting my tasks and directions in the process of creating
their parts, to the diferent performers who relived their roles, and fnally to
those who created and contributed to this book.
My curiosity to hear these multiple voices and understandings led to
this book. Te contributions – even if they, in part, contradict or disagree with
what I intended – are all relevant and present the individual’s perspective.
Some of my initial intentions, metaphors and meanings are still to be
discovered and understood, I hope. But here my search for an answer to the
question “Does what we see dictate our point of view, or does our point of view
dictate what we see?” continues.

Jasmin Vardimon
March 2014
8910Introduction
Paul Johnson
Te work of art comes into being not in the mind of the artist, or on the page, or in the
rehearsal room or stage, but in the act of reception, as the mind makes meaning from it. As
André Lepecki observes, as “we, the audience, leave the theatre – still energised by the dance
that is now no longer present, that is already cooling in our bodies – a fresh new sediment
of experience spreads out in our memory, claiming its space as a new past” (1997: 71). Tis
book is an attempt to extend the understanding of a complex, multifocus, multidisciplinary
performance through a series of varied responses from a range of diferent disciplinary and
personal perspectives. For Lepecki, “One must pay attention to the spectres in the dance
[…] because those moments of interruption, of suspension between matter and memory,
[…] open up doors, slash the narrow boundaries of the descriptive eye, cut the vulgarity of
interpretation and description, expand the self into the non-timely real of the room of
dancing memories”, and so “we write with dancers a shared rehearsal and participate in a
dance of intelligence” (1997: 75).
Tis book grew out of a desire to expand the possibility for the reception of performance
to be an inherently creative act. In early 2012, a symposium funded by the Higher
Education Academy convened to explore ways of developing collaborations between theatre and
dance practitioners and universities. Tis international and multidisciplinary panel gathered
at the Stour Centre, the home of Jasmin Vardimon Company, to view and respond to a
studio performance of Justitia (2007). Te initial invitation read: “We aim to assemble a
panel of thinkers and creative minds, with expertise in a wide range of disciplines and invite
them to debate, analyse and respond to a specifc performance.” For Vardimon, the audi -
ence’s creative response to a piece is a vital extension of the work itself, and a breadth of
disciplinary, social and cultural experiences added to the possibilities of those responses.
Tis book attempts to capture the creative response of an audience and tries to fnd a way
of turning that ephemeral experience into something more lasting.
11DANCE/PHYSICAL/THEATRE/PERFORMANCE
Tere is often a difculty with nomenclature for performance in the genre. Frequently, the
term “physical theatre” is used, and, as Sánchez-Colberg observes, “the development of what
has been loosely termed ‘physical theatre’ has marked one of the most signifcant trends in
dance and theatre since the 1980s” (2007: 21). Te difculty with the term, however, is
precisely as a result of the signifcance of that trend, in that the range of performance work
described now (by companies, promoters, academics and others) as physical theatre includes
such a broad range that the term merely signifes the absence of a realist staging of a play
text. Sánchez-Colberg goes on to claim that:
At a surface level, the term has been collectively used to identify an eclectic production
commonly understood to be one which focuses on the unfolding of a narrative through
physicalised events and which relegates verbal narrative – if at all present – to a subordi -
nate position. However, it is precisely on evaluating such eclectism that one is faced with
a problem. To admit to the above mentioned generalization would allow us to equate
productions as varied as a Christmas pantomime to the work of Grotowski, or, indeed,
Bausch. Te problems arising from this are obvious.
(2007: 21)
Works by Jasmin Vardimon Company, and others, such as Vincent Dance Teatre and
DV8 (increasingly so), often make signifcant use of text and verbal narrative. Whilst this
is seldom in a dominant position, it is certainly not always subordinate to the physical
action. Rather, with other performance elements (scenography, music, flm, etc.), it is a
thread that is woven into the whole. Sánchez-Colberg sets forth a hybrid model of physical
theatre that draws on a twin lineage of dance and avant-garde theatre with a focus on the
body in space, but this focus on the body runs the risk of reducing the complexity of the
performance through a focus on the marker of its diference. With Vardimon’s work, in
particular, to focus on the body at the expense of the text, narrative, scenography or tech -
nology would be to lose sense of the real experience of seeing the work.
Alternatively, it might be possible to imagine a continuum of performance running from
dance to theatre, with dance theatre (a form of dance that includes elements of theatre)
closer to dance and physical theatre (a form of theatre that works through the body) closer
to theatre, but from performance to performance, or from scene to scene, or moment to
12moment the work might move from one end of the continuum to the other. Consequent -
ly, the catch-all term “performance” seems most appropriate; Vardimon refers to herself as
a director/choreographer, and to her work as “artwork”, and the terms “dance”, “theatre”
and “performance” appear at similar frequencies in the responses to her work that follow.
As Sofa Anastasopoulou obs