1989/03/01 by Mark Franko · 1 citation
Arts and Humanities · Economics, Econometrics and Finance · Psychology · #Cinema and Media Studies #Diversity and Impact of Dance #Theatre and Performance Studies
paper · doi:10.2307/3207924
openalex publication_date 1989/03/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/04/27
In 1988, Susanne Linke began her reconstruction of Dore Hoyer's Affectos Humanos (1962) by walking, clad only in black work clothes, to a costume rack placed on the stage.' Slowly and methodically, Linke donned Hoyer's costume for the first solo, Pride, in full view of the audience. At the outset, she established a distance between herself as reconstructor and the artist whose work was to be reconstructed. Indeed, each of the dance's three parts was punctuated by a similar meditative interval, in which Linke disrobed and recostumed herself. This reconstruction consciously avoided simulation of the original, as the reconstructor alternately embodied, stood apart from, and commented upon it. Such effects of distancing are rare in reconstructions of historical dance. But reciprocally, the idea of reconstructing the work of a predecessor has been rare, until recently, among contemporary choreographers.