Dance as Intermedial Translation

Vanessa Montesi is a HE Lecturer in Dance Studies at Dance City/University of Sunderland, a member of the Centre for Comparative Studies (University of Lisbon), and a trustee at Company of Others.

• List of Figures List of Text Boxes List of Tables AcknowledgementsPrelude: Setting Words in MotionThree Anecdotes… …and an IntroductionOFFSTAGE1.StretchingWays of Stretching What about Dance? Theoretical Grounding: Multimodal Social Semiotics and Intermediality2.Rehearsing Dance and the Visual Arts Dance and Language Dance and Literature Dance and Translation TransitionTROIS COUPS3.What’s in a Name?O’, Be Some Other Name! ‘Tis but thy Name that is my Enemy! What’s in a Name? Deny thy Father, and Refuse thy Name4.Words Written in the Air: Dance as Ephemeral Writing How Can We Know the Dancer from the Dance? We Need to Know the Dancer from the Dance Can We Know the Dancer from the Dance? Why Should We Know the Dancer from the Dance?5.Translated/Translating Bodies and the Translator’s Embodied Dramaturgy The Dancer’s Embodied Dramaturgy Translated Bodies The Translator’s Embodied Dramaturgy Interlude Methodology and Methods Embodied Ethnography and Embodied WritingPERFORMING6.Translational Agency in Jérôme Bosch: Le Jardin des Délices Jérôme Bosch: Le Jardin des Délices (2016) Political Agency in Dance and Translation7.Distributed Agency in Jérôme Bosch: Le Jardin des Délices Translating the Painting into Somatic Sensations Distributed Agency Spatial and Discursive Framings: The Garden of Earthly Delights at the Gallery of Nassau Spatial and Discursive Framings: Jérôme Bosch: Le Jardin des Délices at the CCB8.Translation and Memory in Froth on the Daydream (2018) Translation and Memory Studies Boris Vian: Living and Writing in the Translation Zone Translation History of L’Écume des Jours Froth on the Daydream (2018): Offstage Froth on the Daydream (2018): Performing9.Translations and Memories of L’Écume des Jours Cracks in the color-blind image of Paris: Belmont’s L’Écume des Jours (1967) Performing the Imaginative West in Late Soviet Russia: Denisov’s Chloé (1981) From Surrealism to Magic(al) Realism: Gô Rijû’s Kuroe (2001) Performing the Materiality of Bodies and Graphic Line: Preteseille’s L’Écume d’Écume des Jours (2005) Inheriting French Surrealist Cinema: Michel Gondry’s Mood Indigo (2013) After the Tide Has Gone, What Remains? Translation and/as MemoryPostlude: Unwinding Three Anecdotes… …and a ConclusionAppendixes Notes References

"A very original and daring work, which grapples with some of the most complex theoretical questions currently animating Translation Studies, and applies them, in a compelling way, to the study of theatrical dance." - Karen Bennett, NOVA University of Lisbon – School of Social Sciences and Humanities (NOVA FCSH)