Nineteenth-century dance built upon a dense network of transcultural and intercultural relationships among European centers and on an extensive network of professionals in the theatrical world who created a real “ballet industry”. The conventional history of dance often focuses on the historical identity of an institution’s past without adopting the multifocal perspective that on the contrary constituted the lifeblood of past dance practices, which instead were constructed according to a “multidirectional” logic. From this situation we see the importance of the study and analysis of the artistic networks and the choreographic practices of the nineteenth century against the backdrop of diverse political systems and different socio-cultural contexts. For this reason it is crucial for dance studies to adopt a transcultural approach that focuses on dialogue and on reciprocal influences that various cultures exerted on past artists and on the groups of workers who acted in the field of dance and music.
Through a meticulous analytical and transdisciplinary approach, the conference focuses on the phenomenon of mobility amongst artists of the European music and dance theater in the nineteenth century and on the social and political aspects that influenced artistic and cultural developments. One of the many tracks to trace could be the triangulation of lively exchanges of dance cultures between Italy, France and Austria, which were of particular importance to the culture of nineteenth-century dance in Vienna, Paris and the Italian theatrical centers of Milan, Florence, Venice and Naples. The conference aims to challenge recurring ideas of dance historiography, highlight paths and developments of dance practices in diverse contexts and it will initiate a transdisciplinary and international exchange project among scholars in order to create synergies and promote dialogue on new research results and perspectives.
Possible thematic areas of contribution include:
(1) Transnational biographies of dance artists: artistic profiles, career mechanisms, strategies and reception models;
(2) Artistic networks and circulation among artists in the theater world;
(3) Techniques and dance styles: Particularly appreciated will be papers able to compare different stylistic and technical elements adopted in the practice of theatrical dance in Europe, including elements useful in recalibrating any “artisanal” aspect adaptable to choreographic art.
(4) Case studies: dance practice of individual theaters; relationship between dance, music and scenography; creation of repertoire; circulation of productions; institutional aspects of the production conditions of musical and dance theater in the European panorama of the nineteenth century
To read the extended version, follow the links:
http://timesforchange.sbg.ac.at (online 25.3.2019), http://www.airdanza.it and http://www.chercheurs-en-danse.com
Conference Organizing Committee: Irene Brandenburg, Francesca Falcone, Bruno Ligore, and Anna-Lena Mützel
Submission of proposals:
Scholars belonging to different disciplines are invited to share their research. The conference language is English. Communication in another language is foreseen only in exceptional and justified cases.
Please send proposals for twenty-minute papers (2000/2800 keystrokes) and a short Curriculum vitae (1000 keystrokes) in English to firstname.lastname@example.org and to email@example.com by 30 April 2019.
The acceptance of proposals will be communicated by 10 June 2019. Conference Proceedings will be published following peer review.