Book contents
- Frontmatter
- Contents
- Acknowledgements
- Prologue - Men with Glass Bodies
- Introduction
- Performance Documentation 1: Holoman; Digital Cadaver
- Digital Cadavers and Virtual Dissection
- ‘Who Were You?’: The Visible and the Visceral
- Performance Documentation 2: Excavations: Fresh but Rotten
- The Anatomy Lesson of Professor Moxham
- ‘Be not Faithless But Believing’: Illusion and Doubt in the Anatomy Theatre
- Performance Documentation 3: De Anatomische Les
- Of Dissection and Technologies of Culture in Actor Training Programs – an Example from 1960s West Germany
- Ocular Anatomy, Chiasm, and Theatre Architecture as a Material Phenomenology in Early Modern Europe
- Performance Documentation 4: Camillo – Memo 4.0: The Cabinet of Memories – A Tear Donnor Session
- Martin, Massumi, and the Matrix
- Performance Documentation 5: Sensing Presence no 1: Performing a Hyperlink System
- ‘Where Are You Now?’: Locating the Body in Contemporary Performance
- Performance Documentation 6: Under My Skin
- Anatomies of Live Art
- Performance Documentation 7: Crash
- Restaging the Monstrous
- Delirium of the Flesh: ‘All the Dead Voices’ in the Space of the Now
- Performance Documentation 8: Körper
- Operating Theatres: Body-bits and a Post-apartheid Aesthetics
- Index
Performance Documentation 3: De Anatomische Les
Published online by Cambridge University Press: 10 February 2021
- Frontmatter
- Contents
- Acknowledgements
- Prologue - Men with Glass Bodies
- Introduction
- Performance Documentation 1: Holoman; Digital Cadaver
- Digital Cadavers and Virtual Dissection
- ‘Who Were You?’: The Visible and the Visceral
- Performance Documentation 2: Excavations: Fresh but Rotten
- The Anatomy Lesson of Professor Moxham
- ‘Be not Faithless But Believing’: Illusion and Doubt in the Anatomy Theatre
- Performance Documentation 3: De Anatomische Les
- Of Dissection and Technologies of Culture in Actor Training Programs – an Example from 1960s West Germany
- Ocular Anatomy, Chiasm, and Theatre Architecture as a Material Phenomenology in Early Modern Europe
- Performance Documentation 4: Camillo – Memo 4.0: The Cabinet of Memories – A Tear Donnor Session
- Martin, Massumi, and the Matrix
- Performance Documentation 5: Sensing Presence no 1: Performing a Hyperlink System
- ‘Where Are You Now?’: Locating the Body in Contemporary Performance
- Performance Documentation 6: Under My Skin
- Anatomies of Live Art
- Performance Documentation 7: Crash
- Restaging the Monstrous
- Delirium of the Flesh: ‘All the Dead Voices’ in the Space of the Now
- Performance Documentation 8: Körper
- Operating Theatres: Body-bits and a Post-apartheid Aesthetics
- Index
Summary
De Anatomische Les (The Anatomy Lesson), a choreography of the American dancer and choreographer Glen Tetley, premiered January 28, 1964, in the Koninklijke Schouwburg (Royal City Theatre) of The Hague. The choreography was based on Rembrandt 's The Anatomy Lesson of Dr Nicolaes Tulp. In De Anatomische Les a male body is laid on the dissection table among a group of seventeenth-century anatomists. The body suddenly revives, gets up, and starts to dance.
Tetley (1926-2007) first studied medicine before he began his dance studies at Hanya Holm's modern dance studio in New York. Afterwards he danced with the company of Martha Graham. He joined the Nederlands Dans Theater (Netherlands Dance Theatre) as a dancer and choreographer at the beginning of the 1960s and was the artistic director of the NDT together with Hans van Manen until 1970. Just like Pierrot Lunaire (1962), De Anatomische Les belonged to Tetley's first choreographies that still had the quality of a dramatic narrative. From the end of the 1960s, his choreographies moved away from storytelling and began to show a more expressionist form of ballet.
Performance Data
Choreography: Glen Tetley
Music: Marcel Landovski
Stage design and costumes: Nicolaas Wijnberg
Performers: Jaap Flier (the man), Willy de La Bije (his mother), Alexandra Radius (his wife), Ger Thomas (the anatomist), Hans Knill (his assistant).
- Type
- Chapter
- Information
- Anatomy LivePerformance and the Operating Theatre, pp. 111 - 112Publisher: Amsterdam University PressPrint publication year: 2008