Mark Franko

Biographic Data

ID581018
NAMEMark Franko
GIVEN NAMESMark
FAMILY NAMEFranko
SIGNATUREFRANKO M
AFFILIATIONSTemple College
ORCID0000-0002-4544-4065
VERIFIEDYes
TOTAL WORKS49
TOTAL CITATIONS27
AUTHOR COUNT44
EDITOR COUNT5
FIRST PUBLICATION YEAR1980
LATEST PUBLICATION YEAR2025
H-INDEX3

  • Dance as Originary Mimesis: Theory and Practice of the Passions in Action Ballet

    Open AccessMark Franko, Juan Ignacio VallejosARTICLEDance Research2025

    This article argues for a reevaluation of Jean-Georges Noverre's ballet reform and the publication of his Letters on dancing and ballet not as the originator of pantomime ballet but as a discursive event within dance history, one that prefigures dance modernity as dance that calls forth its own theory. It argues concurrently that pantomime ballet was not a transitional genre to Romantic ballet but an experimental genre whose main goal was not to …

  • Spanish Dance Modernism Between Ethnography, Personality, and National Identity: Views of La Argentina from Abroad

    Open AccessMark FrankoARTICLEEnclaves Revista de Literatura…2024

    This article compares critical receptions of the Spanish dancer Antonia Mercé Luque, La Argentina, in France in 1928 and the United States in 1930. Expatriate Russian dance critic in Paris André Levinson praised La Argentina as an exemplar of Spanish classical dance and of Spanish national character. Expatriate scholar of Spanish literature in New York Federico de Onís extolled her dance as iconic of the Spanish national character but without arg…

  • Margaret’s Living Legacy for Dance

    Open AccessMark FrankoARTICLEDance Research2022

  • Teatralidad y performance en Foster y Butler: Sobre El Lugar De La Coreografía en La Filosofía

    Open AccessJuan Ignacio Vallejos, Mark FrankoARTICLEDebate Feminista2021

    Este ensayo parte del análisis de un artículo de Susan Leigh Foster que critica la aplicabilidad de la idea de performatividad de Judith Butler a los estudios de danza, y en particular, el rol del travestismo como una subversión de las normas de género. Foster propone el concepto de coreografía como una alternativa al de performatividad, porque compromete el imaginario histórico y la memoria cultural de la danza, entendida como una materia cuyo a…

  • The Fascist Turn in the Dance of Serge Lifar: Interwar French Ballet and the German Occupation

    Mark FrankoBOOKFascist Turn in the Dance of…2020

    This book is an examination of neoclassical ballet initially in the French context before and after World War I (circa 1905–1944) with close attention to dancer and choreographer Serge Lifar. Since the critical discourses analyzed indulged in flights of poetic fancy a distinction is made between the Lifar-image (the dancer on stage and object of discussion by critics), the Lifar-discourse (the writings on Lifar as well as his own discourse), and …

  • Danser l’identité nationale espagnole à Paris et à New York (1928-1930): Antonia Mercé, La Argentina, entre néo-classicisme, modernisme et expression populaire

    Open AccessMark Franko, François BoisivonARTICLEPerspective2020

    Cet article compare la réception critique de la danseuse espagnole La Argentina (Antonia Mercé) à Paris en 1928 et à New York en 1930, relativement à la perception de sa danse comme une représentation de l’identité nationale espagnole. Les différences d’interprétation entre, d’une part, André Levinson, célèbre critique de danse parisien, historien, Russe émigré en France, et, d’autre part, Federico de Onís, philosophe espagnol, lui aussi expatrié…

  • La partition musicale et chorégraphique: Un débat entre Bojana Cvejić, Marc Downie et Paul Kaiser, Benjamin Piekut, Frédéric Pouillaude et Edward C. Warburton, mené par Mark Franko et Kate van Orden

    Open AccessBojana Cvejić, Marc Downie et al.ARTICLEPerspective2019

    Parler de partitions musicales et chorégraphiques, qu’on les considère ensemble ou séparément, conduit inévitablement à soulever des questions sur les représentations textuelles très inégales, ayant évolué au cours du temps, qui tentent de saisir le son, la parole, le geste et le mouvement. En musique, la partition commence dès que sont notés des signes accompagnant le texte liturgique, représentant les gestes faits par les chanteurs d’un chœur p…

  • Baroque Relations

    Vk Preston, Mark FrankoBOOKThe Oxford Handbook of Dance and…2017

    This chapter approaches dance archives and reenactment through analyses of the use of precious metals in drawings of dancers by the seventeenth-century French artist Daniel Rabel. Examining the artist’s album at the Louvre, Preston studies the visual effects of images and materials, testifying to French reimaginings of Indigenous performance practices in early seventeenth-century ballets in Paris. Turning to verse and livrets by René Bordier and …

  • The Oxford Handbook of Dance and Reenactment

    Mark FrankoBOOKThe Oxford Handbook of Dance and…2017

    Starting from differences between reenactment and the more established practice of historical reconstruction, leading practitioners and theorists ask how the notion of preservation and representation associated with reconstruction is transformed by reenactment into historical experience and affective relation to the past in the present. In other terms: How does dance convey historical meaning through sensuous form? Danced reenactment poses the pr…

  • Serge Lifar and the Question of Collaboration with the German Authorities under the Occupation of Paris (1940–1949)

    Open AccessMark FrankoARTICLEDance Research2017

    This article examines the political and artistic activities of dancer and choreographer Serge Lifar at the Paris Opéra during and immediately after the occupation of Paris. Although Lifar was cleared of charges of collaborationism with the German authorities after the war, the question of collaborationism has arisen again in light of the rehabilitation of his aesthetic by the Paris Opéra and other dance companies. Using archival materials usually…

  • Giving Sense to the Past

    Timmy De Laet, Mark FrankoBOOKThe Oxford Handbook of Dance and…2017

    One of the most common assertion about reenactment is that it installs a form of “affective historiography.” Because reenactment engages the body in relating to the past, it adds corporeal, sensorial, emotional, or psychological dimensions to history in ways that books or documents allegedly cannot offer. This tendency, however, to regard reenactment as an alternative to traditional modes of historiography has led to an overemphasis on its immers…

  • The Role of Choreography in Civil Society under Siege

    Mark FrankoCHAPTERChoreographies of 21st Century Wars2016

    This chapter is a discussion of William Forsythe’s Three Atmospheric Studies through a questioning of the choreographer’s meaning when equating the work to an act of citizenship. This statement calls up the classical theory of civil society (Habermas) and the pressure that is exerted against it by permanent war. The chapter examines closely the structure of the work in order to understand the challenge posed to civil society by permanent war. The…

  • French Interwar Dance Theory

    Open AccessMark FrankoARTICLEDance Research Journal2016References: 4

    Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States m…

  • Dance/Agency/History: Randy Martin's Marxian Ethnography

    Open AccessMark FrankoARTICLEDance Research Journal2016References: 7

    This article explores Randy Martin's approach to dance studies at the dawn of the discipline in a set of essays written between 1992 and 1998 regarding dance, ethnography, and representation. On one hand, the Marxian basis of Martin's analysis is foregrounded in this article as Martin's working method, and on the other, a theory of the audience (the relation of the spectator to the dance) is identified as what links dance to socialism in Martin's…

  • Choreography, Aesthetics, and State Violence

    Open AccessMark FrankoARTICLEDance Research Journal2016

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  • Serge Lifar et la question de la collaboration avec les autorités allemandes sous l'Occupation (1940-1949)

    Mark FrankoARTICLEVingtième Siècle Revue d histoire2016

    Cet article examine les activités politiques et artistiques du danseur et chorégraphe Serge Lifar, à l'Opéra de Paris, pendant et immédiatement après l'Occupation. Bien qu'il ait été acquitté des accusations le taxant d'avoir collaboré avec les autorités allemandes après la guerre, la question est réapparue à la suite de la réhabilitation de son esthétique par l'Opéra de Paris et par d'autres compagnies de danse. S'appuyant sur des archives habit…

  • Movement after Randy Martin

    Patricia Ticineto Clough, André Lepecki et al.ARTICLESocial Text2015

    This section collects a series of short reflections on the life, camaraderie, and scholarship of Randy Martin, a longtime member of the Social Text editorial collective. In place of definitive, authoritative analyses of Martin's work, these pieces present a montage of personal snapshots by people that collaborated, moved, thought, wrote, edited, and learned with him

  • Abstraction, 1910–1925: Eight Statements

    Yve-Alain Bois, Masha Chlenova et al.ARTICLEOctober2013Cited by: 1

    January 01 2013 Abstraction, 1910–1925: Eight Statements Yve-Alain Bois, Yve-Alain Bois Search for other works by this author on: This Site Google Scholar Masha Chlenova, Masha Chlenova MASHA CHLENOVA is Curatorial Assistant at the Department of Painting and Sculpture at the Museum of Modern Art, where she worked with Leah Dickerman on the exhibition “Inventing Abstraction, 1910–1925.” Search for other works by this author on: This Site Google Sc…

  • Inside/Beside Dance Studies: A Conversation: Mellon Dance Studies in/and the Humanities

    Open AccessMichelle Clayton, Mark Franko et al.ARTICLEDance Research Journal2013References: 9

    In 2012, Susan Manning, Rebecca Schneider, and Janice Ross collaborated across their home institutions of Northwestern University, Brown University, and Stanford University, respectively, to found a research initiative interrogating the field of dance studies. This manifold project, Dance Studies in/and the Humanities, receives funding from the Andrew W. Mellon Foundation through 2015 and includes a series of public roundtable discussions. This c…

  • Archaeological choreographic practices: Foucault and Forsythe

    Open AccessMark FrankoARTICLEHistory of the Human Sciences2011Cited by: 1References: 9

    Although Michel Foucault never wrote of dance as an example of a bodily discipline in the classical age, he did affect the art of contemporary ballet through his influence on the work of William Forsythe. This article interprets Foucault’s influence on Forsythe up until the early 1990s and also examines how Forsythe’s choreography ‘responded’ to issues of agency, inscription and discipline that characterize Foucault’s thought on corporeality. Ult…

  • What Is Dead and What Is Alive in Dance Phenomenology

    Open AccessMark FrankoARTICLEDance Research Journal2011Cited by: 2

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  • The Dancing Gaze Across Cultures: Kazuo Ohno's Admiring La Argentina

    Mark FrankoARTICLEDance Chronicle2011

    Kazuo Ohno's 1977 butoh dance Admiring La Argentina is studied as a Bergsonian reflection on “pastness” in performance. As the work questions the absolute quality of the present, it is initially compared with Paul Valéry's concept of La Argentina's dance as existing in the dimension of temporal immediacy. Ohno's relation to La Argentina is discussed as spirit possession, primal identification, cultural anthropophagy, productive consumption, and m…

  • Writing for the Body

    Mark FrankoARTICLECommon Knowledge2011Cited by: 4

    This article explores the history of dance notation from the Renaissance to postmodern dance. It examines the tension between text and oral tradition in Western dance practices, as well as the issue of how to reconcile our views of choreography as both scriptural and visual. It has been difficult, if not impossible, to think of notation in relation to composition; notation has become almost solely associated with reconstruction as a phenomenon of…

  • Between Text and Performance

    Jeffrey M Perl, Jeffrey Perl et al.ARTICLECommon Knowledge2011References: 1

    This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the a…

  • Approaches to Dance (1): Influences

    Open AccessMark FrankoARTICLEDance Research2010

    This is an autobiographical account of the intellectual and artistic influences on the work of Mark Franko. It touches on his professional dance career with the Paul Sanasardo Dance Company and his choreographic career with his own company NovAntiqua, his graduate education at Columbia University, and the development of an interdisciplinary approach to theory and practice that blends the activities of the dance scholar with those of the dancer-ch…