“You want to be authentic to the bones and the spirit of [the original], and you also want to embrace the approximations…the things that change,” says Patricia Lent of Merce Cunningham Trust, an experienced restager. Lent, along with theater-maker Richard Schechner, video/installation artist Sharon Hayes, and UC Berkeley professor and moderator Shannon Jackson, here explores the difficulties of recreating works of performance, and how the terms used to describe such acts—restaging, reconstructing, reenacting—vary across disciplines. Also addressed in this lively conversation are such topics as the singularity of the performer, the economics of copying, the embodiment of artistic practice, and the tyranny of the archive.
This event “Again, in another time and place: A conversation on reconstruction, restaging, and reenactment” was produced by The Pew Center for Arts & Heritage and presented at FringeArts in Philadelphia, on October 5, 2013. That same weekend, with Center funding, Lucinda Childs re-presented a half-dozen of her early dance works.
Tempesta di Mare performed for ATB soli and chamber ensemble at Old St. Joseph’s Church and the Presbyterian Church of Chestnut Hill, both in Philadelphia.
Established in 1963, Pennsylvania Ballet has extended its important Balanchine-based repertoire by presenting new works by a variety of contemporary choreographers.
Funded with Center support, New Paths a month-long, citywide festival, which conceptually connects some of the most innovative artists in the world to a variety of historic and peculiar Philadelphia spaces.
On the occasion of the American premiere of Felix Mendelssohn’s 1841 revision of Johann Sebastian Bach’s St. Matthew Passion—presented by the Mendelssohn Club of Philadelphia with Center support—we invited author and German-language literature translator Susan Bernofsky to discuss the practice of artistic translation.
In 2005 the Center awarded Pew Fellowships to 12 Philadelphia-based artists, and grants to 66 dance, music, theater, and visual arts organizations and practitioners in the greater Philadelphia region.
R. Larry Todd is Arts and Sciences Professor of Music and former chair of the music department at Duke University.
Peter Manuel is an ethnomusicologist and professor of music at John Jay College and CUNY Graduate Center.
Headlong completed a five-month-long research and choreographic project with choreographer Tere O’Connor.
Naomi Beckwith is a curator at the Museum of Contemporary Art, Chicago, known for recognizing artists whose practices are social, participatory, and communal.
Settlement Music School is one of the country’s oldest and largest community music education organizations.
A multidisciplinary interpretation of Igor Stravinsky’s orchestral score The Firebird that links South African and Russian traditions.
Kaytie Johnson is the Rochelle F. Levy Director and Chief Curator at the Galleries at Moore College of Art & Design.