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Abstract

Abstract

This article examines Marie Chouinard’s choreography (2016) as an intermedial translation of Bosch’s homonymous painting. Taking the concepts of distribution of the sensible and esthetic regime developed by as groundwork, I consider how dance and translation participate in the political by challenging traditional hierarchal author–translator relationships, by introducing new corporealities and discourses in the realm of the visible and by exploiting the slippage of meaning that can be produced in the reiteration of discourse and citationality that characterize these two disciplines. I conclude by arguing that in engaging with these three lines of thought, offers a model of translation as an embodied and situated practice that combines the esthetic and the political by bringing a dialogue between equally participating subjects to bear upon a specific context.

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/content/journals/10.1075/tis.19058.mon
2020-12-22
2021-02-24
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