132 performance and the classical paradigm
years. See, for example, McFee 2000, Carroll 2003, Sparshott 2004, and
Van Camp 2009.
- McFee 1992, 88–111. McFee defended his view in his 2007.
- Original formulation in McFee 1992, 97–98.
- For concerns about whether a notated “score” can play this kind of role in
dance, see Rubidge 1996 and Conroy 2006. I draw upon both of these sources
in the following discussion. - For an overview of the historical development of thinking about dance, see
Carroll 2003. - For a formalist conception of what a performed work of dance prescribes for
performances, see Anderson 1975. - Rubidge 1996, 223. These concerns are part of a more general worry about
the ability of recordings to capture and convey to viewers elements that are
crucial to the understanding and appreciation of theatrical and dance
performance. - Cited in Conroy 2007. I draw on references in Conroy’s paper in the discussion
of dance reconstruction in the following paragraphs. - Stephen Davies raised these points in private communication.
- Stephen Davies (private communication) has pointed out a parallel difficulty
in music relating to the use of the voice. We lack evidence that would allow us
to determine how medieval singers sang, given the possibility of voicing
sounds in different places in the throat. - Here, however, we might question whether the sounding is a matter of
interpretation rather than mere execution. Recall the essentially interpretive
dimension of performance in the performing arts.