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008			181003s2010 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aWatts, Victoria _9103739
245	0		_aDancing the Score _bDance Notation and Differance _cVictoria Watts
260			_c2010 _aEdinburgh: _bEdinburgh University Press,
300			_a12 p.
520			_aRESUMEN: This article moves towards an explanation of the kinds of meaning captured in dance notation, towards a critical reflection on linguistic accounts of meaning in dance, and towards a model of analysis that slips free from the dichotomy of theory versus practice, and its correlate of text versus experience. In following Derrida's argument about speech and writing, and through a re-reading of his account of the myth of Theuth, I suggest that dance notation sensuously illustrates the kind of binary-destabilising matter and movement that Derrida theorises variously as trace, différance, and arche-writing. Further, I propose that dance notation, in its relationship to theatrical dance, provides an exemplary, rather than a unique, textual practice: one which necessarily annihilates the old mind/body and speech/writing dualisms. While Derrida achieves this through elaborate, often mischievous, wordplay in his deconstructions, I reflect upon the etymology of choreography and choreology, upon the process of reading and writing a dance score, and upon the marginal status of notation within the dance field.
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 28, núm. 1, Summer 2010, p. 7 - 18
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