Anna Markard, Kurt Jooss, The Green Table , ed. Ann Hutchinson Guest

Anna Markard, Kurt Jooss, The Green Table , ed. Ann Hutchinson Guest of the Universe’ was an experiment in choreography that failed, for reasons that he himself realised. These translations are welcome, well made, and justified by Lopukhov’s status as an object of curiosity, though questions could be raised about selection, especially the exclusion of Sixty Years in Ballet. The editorial claims of the book are unusual in relation to what Lopukhov actually wrote, the disparity between these two inviting debate. To put the matter affirmatively: Lopukhov’s writings locate him precisely as a practical man of the theatre. He thinks like one, writes like one, reminisces like one. That he was occasionally attracted to experiment, or drawn in by the chic musings of his brainy colleagues, is more a reflection of his times than a credential making him a theorist. Judging from his writings, a trained musician he was not. He speaks of technical matters in music within predictable limitations of his profession, but expects to be taken seriously, whatever the topic, for the totality of his artistic accomplishment. If we make him more than he was, we hold him to a standard that risks embarrassment all around. If we understand him rightly, separating the wheat from the chaff in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Dance Research Edinburgh University Press

Anna Markard, Kurt Jooss, The Green Table , ed. Ann Hutchinson Guest

Dance Research , Volume 22 (2): 214 – Oct 1, 2004

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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
ISSN
0264-2875
eISSN
1750-0095
D.O.I.
10.3366/drs.2004.22.2.214
Publisher site
See Article on Publisher Site

Abstract

of the Universe’ was an experiment in choreography that failed, for reasons that he himself realised. These translations are welcome, well made, and justified by Lopukhov’s status as an object of curiosity, though questions could be raised about selection, especially the exclusion of Sixty Years in Ballet. The editorial claims of the book are unusual in relation to what Lopukhov actually wrote, the disparity between these two inviting debate. To put the matter affirmatively: Lopukhov’s writings locate him precisely as a practical man of the theatre. He thinks like one, writes like one, reminisces like one. That he was occasionally attracted to experiment, or drawn in by the chic musings of his brainy colleagues, is more a reflection of his times than a credential making him a theorist. Judging from his writings, a trained musician he was not. He speaks of technical matters in music within predictable limitations of his profession, but expects to be taken seriously, whatever the topic, for the totality of his artistic accomplishment. If we make him more than he was, we hold him to a standard that risks embarrassment all around. If we understand him rightly, separating the wheat from the chaff in

Journal

Dance ResearchEdinburgh University Press

Published: Oct 1, 2004

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