Intertextuality and Identity: An Examination of Dramaturgy for Dance Through the Remounting Process

This research thesis focuses on remounting existing dance choreographies. It reveals a shift from traditional notions of the choreographer as a figure of centralized authority to a decentralized model of collaborative exploration. Questions raised throughout this investigation are: How are the outcomes of choreographic remounting affected by defining the place of imitation in the process? How can the artist's creative voice remain present and active in the context of executing already established choreography? What is the place of the dancer's adaptive choices, and how do they manifest in the remounting process and subsequent performance of the work? Three phases are identified in order to contextualize these questions within the remounting process. The three phases are: Mimesis, Embodiment and Interpretation. The theoretical framework for this study comes from dance and performance studies, using references from Mark Franko, Bojana Cvejic, and William Forsythe