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Total Masala Slammer/Heartbreak No. 5: A Case of Mistaken Identity for the Indian Classical Dancer?

Athreya, Preethi

Dance Research Journal, 2004, Vol.36 (2), p.139-143 [Periódico revisado por pares]

New York, USA: Cambridge University Press

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  • Título:
    Total Masala Slammer/Heartbreak No. 5: A Case of Mistaken Identity for the Indian Classical Dancer?
  • Autor: Athreya, Preethi
  • Assuntos: Abramovic, Marina ; American Indians ; Bharathanatyam ; Choreography ; Classical dance ; Dance ; Indian Dance: Resources and Reflections ; Kathak ; Laub, Michel ; Mimetic dance ; Multimedia ; Musical theater ; Native American dance ; Postmodern art ; Theater ; Traditional dance
  • É parte de: Dance Research Journal, 2004, Vol.36 (2), p.139-143
  • Descrição: Total Masala Slammer/Heartbreak no. 5, conceived and directed by Belgian director Michel Laub and visual artist Marina Abramovic, has been described as a European American Indian multimedia theater project combining dance, theater, video projection, art installation, and music. Laub and Abramovic draw on vastly mixed references to deal with themes of race and multiculturalism. A recurrent theme is women and their abuse in different cultural perspectives. Laub and Abramovic are fascinated by two extremes of Indian culture: on the one side the purity of classical Indian dance and art, kathak; on the other, the triviality of soap operas and kitschy TV serials produced by Bollywood (Archa Theatre 2001). Laub's theater is said to play with the conventions of theatrical representation, constantly bringing the rehearsal process onto the stage. Less interested in trained actors than in forceful personalities, Laub looks for a fusion of the autobiographical details of his performers with fictional situations. So, what happens when Michel Laub, a postmodernist with a tendency to parody order, system, and signification, collaborates with Kumudini Lakhia, a traditional reformist for whom art is about poetry, wonder, simplicity, and dignity? In Total Masala Slammer, unrequited love is “performed” in different performance traditions of kathak and bharatanatyam, Bollywood soap opera, and German theater. Actors, sometimes wearing period costumes, read out excerpts from a book with exaggerated melodrama or affected irreverence. Audition videos are screened, and there is much dancing—contemporary dance, cabaret, kathak, and bharatanatyam. It has a deliberately fragmented piece-by-piece approach with actors seated on stage, taking turns to perform their acts.
  • Editor: New York, USA: Cambridge University Press
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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