Abstract

“Reconstructing,” “remounting,” “restaging,” and “reworking” are terms that are used to describe the process of choreographic transmission. Typically today, dances are transmitted through notated scores, video recordings, and the kinesthetic history of previous cast members. This article illuminates the liminal space between score, screen, and stage by analyzing the process of transmitting William Forsythe's One Flat Thing, reproduced (2000) to a group of students at The Juilliard School in 2013. Conclusions drawn from the case study challenge traditional notions of reconstruction and restaging and suggest “re-generation” as an alternative term to describe the process of preserving and transmitting contemporary dance works.