Conclusion to Part 1

Chapters in this book

1. Frontmatter 1
2. Contents 7
3. List of Figures 11
4. Acknowledgments 15
5. Notes on translation 17
6. Summary 19
7. Introduction 21
8. Part 1: Before choreography, expansion
9. Introduction to Part 1 39
10. Chapter 1: Monsieur de Saint-Hubert’s expanded choreographic poietics 43
11. Chapter 2: Choreo-graphy or the incorporeal inscription of choreography 65
12. Chapter 3: Stillness in nature’s dance: expanded choreographies of the Italian Renaissance 99
13. Conclusion to Part 1 123
14. Part 2: Expanded choreographies of the now
15. Introduction to Part 2 129
16. Chapter 4: Programming (as) choreography: a series of kinect videos by Mathilde Chénin 135
17. Chapter 5: A choreography of the in-between: Olga Mesa’s Solo a ciegas (con lágrimas azules) 159
18. Chapter 6: Being (in) a choreographic object: William Forsythe’s artificial nature installation in Groningen 187
19. Conclusion to Part 2 213
20. Part 3: Expanded modernities
21. Introduction to Part 3 219
22. Chapter 7: The multiple choreographies of the Ballets Suédois’ Relâche 227
23. Chapter 8: Looking at a world in movement: Rudolf Laban’s work in industry 247
24. Chapter 9: Creation, imagination, paradise: lettrism’s excursions into choreography 277
25. Conclusion to Part 3 307
26. Conclusion 311
27. Bibliography 323
28. Index 347