earticle

영어

This study examines the concept of re-enactment in exhibited dance through an analysis of Boris Charmatz’s Manifesto for a National Choreographic Centre. While traditional approaches to re-enactment have emphasized the restoration of an original work, such a model proves insufficient when dance enters the museum context. Drawing on Georges Didi-Huberman’s theories of anachronistic temporality and the surviving image, this study reconceptualizes re-enactment as a process in which gestures return, persist, and transform across multiple temporal layers. Through a close reading of Charmatz’s manifesto, the research demonstrates how the notion of the “dancing museum” challenges fixed ideas of authenticity and reconfigures the museum as a site where gestures actively generate new temporal relations. Ultimately, the study argues that re-enactment in the museum should be understood not as the repetition of the past, but as a critical practice that reopens the conditions through which dance persists and its histories are continuously rearticulated.