Accommodating the Threat of the Machine: the act of repetition in live performance

Authored by: Jeremy Peyton Jones

The Ashgate Research Companion to Minimalist and Postminimalist Music

Print publication date:  November  2013
Online publication date:  March  2016

Print ISBN: 9781409435495
eBook ISBN: 9781315613260
Adobe ISBN: 9781317042556

10.4324/9781315613260.ch7

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Abstract

In [Pina Bausch’s] 1980, when Anne Marie Benati runs around the room fifty times calling out ‘I’m tired’ she finally gets really tired. Her movements, initially light and full of energy, gradually become slower, her weight more and more relaxed at each step, as if her limbs were becoming heavier by increasing passive weight; her breathing becomes intensified, and she can barely speak in the same tempo as before. The artificiality of the initial re-presentation, speaking what she was not feeling, becomes a real experience through mechanical repetition. 1 1

Ciane Fernandes, Pina Bausch and the Wuppertal Dance Theater: the aesthetics of repetition and transformation (New York, 2005), p. 37.

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