ABSTRACT
What is the cultural significance of the artistic innovations of European dance-theatre, the interdisciplinary movement that transformed the aesthetic contours of Western dance and experimental theatre in the 1980s and 90s? How did this movement reflect and reconfigure understandings of the body, social relation and movement itself ? How might this body of choreographic practice be related to the current European scene of prolific experimentation at the interfaces of dance and performance art? Given performance art’s status in contemporary cultural and critical discourse as an art form that epitomises transience and thus perturbs the cultural mechanisms and economies that seek to name, place and capitalise it, how is time re-figured across these shifts in choreographic practice? What might dance-theatre and dance-performance have to tell us about the manifestation and perception of time in the contemporary?
