ABSTRACT

I became aware of the relationship between Donya Feuer and Ted Hughes during my interviews with Donya in Stockholm in preparation for Excursion for Miracles. What particularly fascinated me was the kind of collaboration Donya excelled at and which she had clearly practiced with Paul Sanasardo and Ingmar Bergman. In a certain sense, this essay speaks to the discussion of collaboration between Merce Cunningham and Marcel Duchamp (through Nam June Paik, see Chapter 9), which also did not take place in a physical location but which involved another sort of exchange I don’t think we have a very extended understanding of yet. The themes of movement and text that occupy so many of the essay collected here also return in this case in a reconceptualization of Shakespearian theater as “choreographic.” In looking closely at the exchanges between Feuer and Hughes, we revisit the various scenes of intermediality and interdisciplinarity at the heart of this collection.