Recovery is a performance project by Natalie Cursio and Shannon Bott that premiered in Melbourne, Australia in late 2015. In the credits I am listed as ‘Director / Choreographer’ but I was not involved at the beginning of the project and nor did I see the premiere. My relative absence from Recovery has led me to conceive of my relationship to it as being that of a jealous lover. In turn, I ask how the experience of jealousy may be useful in re-negotiating the role of the choreographer—and choreography—through time. The writing evokes the biological metaphor of 'spillover' to help imagine a work's persistence beyond performance (and related considerations of annotation and archive), and proposes that the idea of stewardship helps to recognize the limited role of the director/choreographer in how performance is transmitted through time.
This is an Accepted Manuscript of an article published by Taylor & Francis in Performance Research on 26 November 2015 available online: http://www.tandfonline.com/10.1080/13528165.2015.1111061
abstract = "Recovery is a performance project by Natalie Cursio and Shannon Bott that premiered in Melbourne, Australia in late 2015. In the credits I am listed as {\textquoteleft}Director / Choreographer{\textquoteright} but I was not involved at the beginning of the project and nor did I see the premiere. My relative absence from Recovery has led me to conceive of my relationship to it as being that of a jealous lover. In turn, I ask how the experience of jealousy may be useful in re-negotiating the role of the choreographer—and choreography—through time. The writing evokes the biological metaphor of 'spillover' to help imagine a work's persistence beyond performance (and related considerations of annotation and archive), and proposes that the idea of stewardship helps to recognize the limited role of the director/choreographer in how performance is transmitted through time. This is an Accepted Manuscript of an article published by Taylor & Francis in Performance Research on 26 November 2015 available online: http://www.tandfonline.com/10.1080/13528165.2015.1111061",
author = "Simon Ellis",
year = "2015",
month = nov,
day = "26",
doi = "10.1080/13528165.2015.1111061",
language = "English",
volume = "20",
pages = "95--100",
journal = "Performance Research: A Journal of the Performing Arts",
issn = "1352-8165",
publisher = "Taylor and Francis",
number = "6",
}
TY - JOUR
T1 - Jealousy, Transmission and Recovery
AU - Ellis, Simon
PY - 2015/11/26
Y1 - 2015/11/26
N2 - Recovery is a performance project by Natalie Cursio and Shannon Bott that premiered in Melbourne, Australia in late 2015. In the credits I am listed as ‘Director / Choreographer’ but I was not involved at the beginning of the project and nor did I see the premiere. My relative absence from Recovery has led me to conceive of my relationship to it as being that of a jealous lover. In turn, I ask how the experience of jealousy may be useful in re-negotiating the role of the choreographer—and choreography—through time. The writing evokes the biological metaphor of 'spillover' to help imagine a work's persistence beyond performance (and related considerations of annotation and archive), and proposes that the idea of stewardship helps to recognize the limited role of the director/choreographer in how performance is transmitted through time.
This is an Accepted Manuscript of an article published by Taylor & Francis in Performance Research on 26 November 2015 available online: http://www.tandfonline.com/10.1080/13528165.2015.1111061
AB - Recovery is a performance project by Natalie Cursio and Shannon Bott that premiered in Melbourne, Australia in late 2015. In the credits I am listed as ‘Director / Choreographer’ but I was not involved at the beginning of the project and nor did I see the premiere. My relative absence from Recovery has led me to conceive of my relationship to it as being that of a jealous lover. In turn, I ask how the experience of jealousy may be useful in re-negotiating the role of the choreographer—and choreography—through time. The writing evokes the biological metaphor of 'spillover' to help imagine a work's persistence beyond performance (and related considerations of annotation and archive), and proposes that the idea of stewardship helps to recognize the limited role of the director/choreographer in how performance is transmitted through time.
This is an Accepted Manuscript of an article published by Taylor & Francis in Performance Research on 26 November 2015 available online: http://www.tandfonline.com/10.1080/13528165.2015.1111061
U2 - 10.1080/13528165.2015.1111061
DO - 10.1080/13528165.2015.1111061
M3 - Article
SN - 1352-8165
SN - 1469-9990
VL - 20
SP - 95
EP - 100
JO - Performance Research: A Journal of the Performing Arts
JF - Performance Research: A Journal of the Performing Arts