The Performance of Pictorialist Dance Photography

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Standard

The Performance of Pictorialist Dance Photography. / Vedel, Karen.

I: Nordic Theatre Studies, Bind 29, Nr. 1, 2017, s. 138-161.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningfagfællebedømt

Harvard

Vedel, K 2017, 'The Performance of Pictorialist Dance Photography', Nordic Theatre Studies, bind 29, nr. 1, s. 138-161. https://doi.org/10.7146/nts.v29i1.103314

APA

Vedel, K. (2017). The Performance of Pictorialist Dance Photography. Nordic Theatre Studies, 29(1), 138-161. https://doi.org/10.7146/nts.v29i1.103314

Vancouver

Vedel K. The Performance of Pictorialist Dance Photography. Nordic Theatre Studies. 2017;29(1):138-161. https://doi.org/10.7146/nts.v29i1.103314

Author

Vedel, Karen. / The Performance of Pictorialist Dance Photography. I: Nordic Theatre Studies. 2017 ; Bind 29, Nr. 1. s. 138-161.

Bibtex

@article{58f0b7f68f8c4075b496e51b90429879,
title = "The Performance of Pictorialist Dance Photography",
abstract = "Looking to the widely disseminated pictorialist photos of Waldemar Eide (Nor-way) and Henry B. Goodwin (Sweden) featuring the Russian ballerina Vera Fokina and the Swedish ballerina Jenny Hasselquist, the article is an enquiry into the role of the dancer in the pictorialist studio and the contribution of picto-rialist photography to the turning point when the aesthetics of dance was being reconsidered, the dancing body reconfigured, and photography emerged into an art form in its own right. Taking inspiration from the socio-material approach of photography historian Elizabeth Edwards, the analysis downplays the ques-tion of content in favor of a focus on the material practices in the photographic studio at the level of the photographer as well as the dancer-model posing before the camera. Placed within a discourse of new materialism, performance and performativity, it moreover considers the resulting photos as material ob-jects that perform in continuing processes of meaning production. An example of the latter discussed at the end of the text is Harald Giersing’s abstract paint-ing ’The Dancer’ based on a photo of Jenny Hasselquist as The Dying Swan.",
keywords = "Dance pictorialism, modern ballet, material practices, Vera Fokina, Jenny Hasselquist, Mikhail Fokine, Waldemar Eide, Henry B. Goodwin, Harald Giersing",
author = "Karen Vedel",
year = "2017",
doi = "10.7146/nts.v29i1.103314",
language = "English",
volume = "29",
pages = "138--161",
journal = "Nordic Theatre Studies",
issn = "0904-6380",
publisher = "Munksgaard",
number = "1",

}

RIS

TY - JOUR

T1 - The Performance of Pictorialist Dance Photography

AU - Vedel, Karen

PY - 2017

Y1 - 2017

N2 - Looking to the widely disseminated pictorialist photos of Waldemar Eide (Nor-way) and Henry B. Goodwin (Sweden) featuring the Russian ballerina Vera Fokina and the Swedish ballerina Jenny Hasselquist, the article is an enquiry into the role of the dancer in the pictorialist studio and the contribution of picto-rialist photography to the turning point when the aesthetics of dance was being reconsidered, the dancing body reconfigured, and photography emerged into an art form in its own right. Taking inspiration from the socio-material approach of photography historian Elizabeth Edwards, the analysis downplays the ques-tion of content in favor of a focus on the material practices in the photographic studio at the level of the photographer as well as the dancer-model posing before the camera. Placed within a discourse of new materialism, performance and performativity, it moreover considers the resulting photos as material ob-jects that perform in continuing processes of meaning production. An example of the latter discussed at the end of the text is Harald Giersing’s abstract paint-ing ’The Dancer’ based on a photo of Jenny Hasselquist as The Dying Swan.

AB - Looking to the widely disseminated pictorialist photos of Waldemar Eide (Nor-way) and Henry B. Goodwin (Sweden) featuring the Russian ballerina Vera Fokina and the Swedish ballerina Jenny Hasselquist, the article is an enquiry into the role of the dancer in the pictorialist studio and the contribution of picto-rialist photography to the turning point when the aesthetics of dance was being reconsidered, the dancing body reconfigured, and photography emerged into an art form in its own right. Taking inspiration from the socio-material approach of photography historian Elizabeth Edwards, the analysis downplays the ques-tion of content in favor of a focus on the material practices in the photographic studio at the level of the photographer as well as the dancer-model posing before the camera. Placed within a discourse of new materialism, performance and performativity, it moreover considers the resulting photos as material ob-jects that perform in continuing processes of meaning production. An example of the latter discussed at the end of the text is Harald Giersing’s abstract paint-ing ’The Dancer’ based on a photo of Jenny Hasselquist as The Dying Swan.

KW - Dance pictorialism

KW - modern ballet

KW - material practices

KW - Vera Fokina

KW - Jenny Hasselquist

KW - Mikhail Fokine

KW - Waldemar Eide

KW - Henry B. Goodwin

KW - Harald Giersing

U2 - 10.7146/nts.v29i1.103314

DO - 10.7146/nts.v29i1.103314

M3 - Journal article

VL - 29

SP - 138

EP - 161

JO - Nordic Theatre Studies

JF - Nordic Theatre Studies

SN - 0904-6380

IS - 1

ER -

ID: 209630855