On Demand
There goes the neighborhood
By Claudia La Rocco
July 17, 2008
If ever there were a blue crowd, politically speaking, you’d figure it would be the folks populating this city’s various arts scenes. I haven’t noticed many McCain 2008 buttons recently at any galleries or theaters, have you?
Right. So it always interests me, and startles a bit, to hear the term “Eurotrash” bandied about with regard to work (usually dance and theater, but with regard to other disciplines too) imported from the Continent - usually with a dismissive, all-encompassing wave of the hand or pen, as if the term says all you need to know about the art in question. I’m never quite sure exactly what it means, but the implication seems to be that the work is flashy for the sake of flash, vulgar, and oblivious to the very traditions it purports to extend.
Rob Fordeyn and Helen Pickett in William Forsythe’s “Impressing the Czar.” Photo by Johan Persson
Beginning tonight, Lincoln Center Festival 08 is presenting five performances of William Forsythe’s Impressing the Czar, performed by the Royal Ballet of Flanders. Forsythe is American, but he has worked in Germany for decades, and is often saddled with the reactionary Eurotrash canard. Taste is taste, fair enough, and it’s a dangerous game, as Ezra Pound proves, to equate aesthetics with politics. Still, it amazes me to hear how many quite left-leaning folks, while outraged by what they see as this current administration’s isolationist tendencies, are categorically opposed to much contemporary European work. The context is different, but the dismissal of different artistic approaches always reminds me of the “Our way or the highway” thinking I so dislike in American politics.
I’m not saying that contemporary European work is all good, or even that most of it is (though I am a big Forsythe proponent). Many of the lavish European spectacles brought over by places like Lincoln Center and BAM are terribly pretentious - heavy on production values, light on content. I remember one arts administrator, dismayed by an imported piece being presented by her organization, equating it to the dashing local you have a fling with in Barcelona or Rome, only to invite him for a visit and be horrified at the reality, once it’s divorced from a romantic context of late night cafes and exotic languages.
American artists have a long, often tortured relationship with venerable European traditions, much as the American population does at large. Hello, freedom fries! And, of course, it cuts both ways; while American artists often talk longingly of European support for the arts, and (sometimes senselessly) ape theatrical concepts (I remember when pseudo-dramaturgs were all the rage), European artists talk about the suffocating politics of state support, and of the openness and generosity of American performers. And, of course, French farmers go ballistic on McDonalds restaurants.
I would love to hear people’s thoughts on this, especially if they contradict my own. Meanwhile, it will be interesting to see whether the “Czar” impresses the Big Apple.
A snippet from “In the Middle, Somewhat Elevated.” the central section of “Czar”
Comments
Comment from A.C. Douglas
Date: July 17, 2008, 2:32 pm
So it always interests me, and startles a bit, to hear the term “Eurotrash” bandied about with regard to work (usually dance and theater, but with regard to other disciplines too) imported from the Continent - usually with a dismissive, all-encompassing wave of the hand or pen, as if the term says all you need to know about the art in question.
You misunderstand the term, “Eurotrash”. The term is the derogatory designation for Regietheater (Director’s Theater), wherein the director’s own Konzept replaces totally that of the playwright in the case of a straight stage play, or, more commonly, the opera composer in the case of an opera. In its postmodern form, Regietheater is indeed an abomination and justly deserves the name, Eurotrash (so-called because Regietheater is a European — specifically, a German — invention).
ACD
Comment from Claudia La Rocco
Date: July 17, 2008, 3:08 pm
Hiya A.C.,
Thanks for this, but the usage I’m referring to is the more common one. From Wikipedia, for example:
“A sometimes pejorative term referring to a particular American stereotype of wealthy Europeans travelling to the US”
Comment from Marisa Hayes
Date: July 17, 2008, 7:50 pm
This is a very interesting post. As an American choreographer now based in France for my third year, I’m fascinated by my constantly shifting attitudes towards dance in Europe and N. America. I hope you’ll explore this topic again in future posts. What can be ironic about the French system is that the security it offers its artists can also narrow their international recognition. Many of the French choreographers that are quite well known here rarely leave France. In terms of performance opportunities and financial stability, they simply don’t need to (I’m only speaking in a practical sense, not of the meaningful creative and intellectual possibilities that international exchanges allow). As a result, many of my American colleagues have never heard of them, nor has anyone outside of France, which is surprising when I see the success and wide-reaching influence they’ve achieved in France. I mention these artists (here I’m thinking of Mathilde Monnier, among others) because I think that they represent an important aspect of what’s happening in French choreography today, and its far from the Bejart bombastic, quasi-philosophical approach that seems to have almost always rubbed Americans the wrong way.
It’s always a pleasure reading your blog.
Comment from A.C. Douglas
Date: July 17, 2008, 11:14 pm
Thanks for this, but the usage I’m referring to is the more common one.
Not in the context of the arts it’s not — theater and opera most particularly.
ACD
Comment from Claudia La Rocco
Date: July 17, 2008, 11:31 pm
Hey A.C. - I understand that it has a specific meaning with reference to the arts, but often the comments that people are making (and the ones that I’m thinking of) are not with that meaning in mind. In fact, I hear it more often with dance than any other form, and, while I have no doubt that some people are using it in the way that you describe, I’m pretty sure that most are using the less specialized meaning.
I laughed reading your “solid two thumbs up!” post on Sounds & Fury - I know a lot of newspaper critics who are constantly frustrated by management demanding the thumbs or star ratings.
Comment from Claudia La Rocco
Date: July 17, 2008, 11:38 pm
Hey Marisa, thanks for your kind words. Yeah, Bejart is pretty hard to swallow for most Americans, I suspect. It’s so interesting to see who does and doesn’t tour - in America it’s often the opposite, of course, that only the biggest names can afford to make it out. Though I think that is shifting in recent years. It’s also interesting (and sad) to see how few American artists are getting to Asian and African countries. An African-American choreographer was saying recently how rare true collaborations are between African-American and African artists, because the money just isn’t there. He was talking particularly about how strong the French conceptual influence is, and how frustrated he is by the limited options he has, given the American government’s disinterest in funding such exchanges.
What are some of the prevalent French views toward American artists that you have noticed of late?
Comment from Tim R-J
Date: July 18, 2008, 4:41 am
it amazes me to hear how many quite left-leaning folks, while outraged by what they see as this current administration’s isolationist tendencies, are categorically opposed to much contemporary European work. The context is different, but the dismissal of different artistic approaches always reminds me of the “Our way or the highway” thinking I so dislike in American politics.
I think there’s a lot of truth in this with respect to contemporary music criticism. I don’t have a problem with American critics favouring American composers, but one often reads blanket dismissals - by liberal writers - of European alternatives. This might be symptomatic of a deliberate isolationism on the part of the critic, or it might reflect a more widespread cultural isolationism that operates on a more subconscious level, but it’s always disturbing to read (here in Europe) nevertheless.
Comment from Claudia La Rocco
Date: July 18, 2008, 9:13 am
Hey Tim, thanks for writing. I would agree about this operating on a subconscious level. I would imagine there is also an element of self-defense, given how young American artistic traditions are compared to European ones, and given that American artists, for so long, have operated in the shadow of great European artists and movements. In music, I get this sense particularly with jazz, as it originated in America - as in, what would a European musician possibly be able to contribute to jazz? It’s especially disturbing when you think about how many great American jazz musicians (and tap dancers) sought refuge from American prejudice in Europe.
The link you supplied seems to be broken - please resend if you can, would love to follow it.
Comment from julakim
Date: July 23, 2008, 10:52 am
I have been studying William Forsythe for a long time from the perspective of an architect. The last play I ahve seen was ‘Yes - We can’t’ and on my blog you can listen to my reaction to it. It is an extraordinary COMMUNICATIVE play.
Drop by and leave me your ideas about it http://www.blog.ar2com.de/william-forsythe/
Comment from Claudia La Rocco
Date: July 23, 2008, 12:44 pm
There are incredible parallels between Forsythe’s work and architecture. You can find lots of connections between architecture and choreography in general, but they are particularly apparent and intelligent in his works - the way he shapes space and viewer perception. I’m thinking particularly of a work like “Kammer/Kammer” - have you seen that?
I got to see the “Czar” on Sunday - incredible.
Comment from julakim
Date: July 23, 2008, 6:32 pm
Unfortunately I have not seen Kammer/Kammer live … I just know some videos.
It must be completely different being in the performing space.
I have been participating at the HUMAN RIGHTS which was very impressing, since there is NO REAL audience’ space. itis all in one.
but it has not so much to do with architecture …
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