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All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.  \nThe use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.  \nCover illustration: © Harvey Loake Printed on acid-free paper  \nThis Palgrave Pivot imprint is published by the registered company Springer International Publishing AG part of Springer Nature  \nThe registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland  \nPreface  \nThe consequence of the single story is this: It robs people of dignity. It makes our recognition of our equal humanity difficult. It emphasizes how we are different rather than how we are similar…when we reject the single story, when we realize that there is never a single story about any place, weregain a kind of paradise. Chimamanda Ngozi Adichie (2009)  \nNovelist Chimamanda Ngozi Adichie warns us of the dangers of telling or consuming ‘single stories’, arguing that if an artist tries to tell one individual’s story in one individual’s voice then they risk closing off the possibility for any complex understanding. This book sets out to ask questions about how performance makers might approach this rejection of a single story through the staging of and more specifically the dancing of other people’s words. How might dance and theatre come together to tell multiple stories but also in multiple ways?  \nWhat is the body’s capacity to communicate? How can spoken words be translated into choreography? Physical theatre or dance-theatre practices that focus on the body and movement as a mode of communication, can provide verbatim performance makers with powerful means of disseminating information, provoking empathy and engaging an audience. For a practice that is fascinated with the translation of recorded/ spoken verbal language into movement, it is notable that dance studies and performance studies researchers and choreographers working in the field of verbatim dance-theatre have had little contact with the field of translation studies. When this specific choreographic process is viewed  \nvi PrEFACE  \nas a translation process, from speech to body, from verbal language to corporeal text, then those concepts in translation studies which explore translation practice as a process of dialogue between translator and source text become pertinent and provide new ways to understand, articulate and participate in this choreographic practice.  \nThis book extends personal ","cbCairuWu33gs1g3","https://ap.wps.com/l/cbCairuWu33gs1g3","pdf",1328030,147,"English","# Preface\n## Rejecting the “single story”\n## Translating spoken words into choreography\n## Verbatim dance-theatre and translation studies\n## Personal research and choreographic practice","[{\"question\":\"What problem does the book address about storytelling?\",\"answer\":\"It argues that the consequence of a single story robs people of dignity and makes equal humanity harder to recognize, while rejecting single stories enables complex understanding.\"},{\"question\":\"How does the book connect choreography to translation?\",\"answer\":\"It frames choreographic practice as a translation process—from speech to body, from verbal language to corporeal text—where translation concepts can help explain dialogue between performer and source.\"},{\"question\":\"What research focus does the preface describe?\",\"answer\":\"It describes extending personal research in verbatim dance-theatre, especially translation as a dramaturgical device, and choreographic practice for creating movement in response to verbatim spoken language.\"}]","Choreography and Verbatim Theatre - Preface - Dancing Words - Jess McCormack | PDF",1789772934,226]