Invoking the methodology of the act of spectating as a practice, an idea developed from Skantze’s Itinerant Spectator/Itinerant Spectacle, this chapter examines reenactment from the perspective of the active spectator. The archive and the document common to reenactment present the spectator as practitioner with interpretive tools, and yet often the reception of reenactments becomes stronger by way of the mix of spectator memory with the not quite accurate or faithful in the representation. Wim Vandekeybus’s Booty Looting, a dance performance that not only stages a reenactment, but also confronts the spectator with the material of memory, forms the basis for thinking through the paradox of the truth in approximations and flawed enactments.
|Title of host publication||The Oxford Handbook of Dance and Reenactment|
|Subtitle of host publication||Oxford University Press|
|Number of pages||11|
|Publication status||Published - 13 Dec 2017|
- Spectating, practice, archive, reception, methodology, Wim Vandekeybus, Booty Looting, approximation