| Yes? No! Maybe...: Seductive Ambiguity in Dance Contributor(s): Claid, Emilyn (Author) |
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ISBN: 0415371562 ISBN-13: 9780415371568 Publisher: Routledge OUR PRICE: $161.50 Product Type: Hardcover - Other Formats Published: April 2006 Annotation: "Yes? No! Maybe..". is a book about performing and watching dance. Using a unique combination of historical, academic and autobiographical voices, it covers fifty years of British dance, from Margot Fonteyn in the 1950s to innovative contemporary practitioners such as Wendy Houstoun, Nigel Charnock, Lloyd Newson, Javier DeFrutos and Fin Walker. Emilyn Claid's thought-provoking investigation of performing presence is illuminated by episodes from her own history as founder member of X6 Dance Space, the experimental dance collective, and as one of the UK's most radical and exciting practitioners. Using the 1970s revolution of new dance as a hinge, the author looks back to ballet and forward to British independent dance which is new dance's legacy. This book explores the shifting dynamic between performer and spectator through feminist, psychoanalytic, post-structuralist and queer theoretical perspectives. In the process, the concepts of seduction, androgyny and ambiguity are refigured as embodied strategies with which to enliven performer-spectator relations. |
| Additional Information |
| BISAC Categories: - Performing Arts | Dance - Classical & Ballet - Performing Arts | Dance - Modern - Performing Arts | Theater - General |
| Dewey: 792.8 |
| LCCN: 2005028147 |
| Physical Information: 0.76" H x 5.75" W x 8.74" (0.93 lbs) 256 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: Covering fifty years of British dance, from Margot Fonteyn to innovative contemporary practitioners such as Wendy Houstoun and Nigel Charnock, Yes? No! Maybe is an innovative approach to performing and watching dance. Emilyn Claid brings her life experience and interweaves it with academic theory and historical narrative to create a dynamic approach to dance writing. Using the 1970s revolution of new dance as a hinge, Claid looks back to ballet and forward to British independent dance which is new dance's legacy. She explores the shifts in performer-spectator relationships, and investigates questions of subjectivity, absence and presence, identity, gender, race and desire using psychoanalytical, feminist, postmodern, post-structuralist and queer theoretical perspectives. Artists and practitioners, professional performers, teachers, choreographers and theatre-goers will all find this book an informative and insightful read. |