Outlines four models for representation in dance which are illustrated through an analysis of the works of contemporary choreographers and through historical examples beginning with court ballets of the Renaissance.
The first critical history of French ballet that illuminates relations of politics, spectacle, gender, and narrative.
Challenging the notion of a direct connection between a dancer and their audience, this work explores how sociocultural mores shape perceptions of movement and empathy. It presents a reconceptualization of the relationship between performer and observer, offering significant implications for the field of performance studies. Through this lens, the book invites readers to reconsider how empathy is choreographed and experienced in the context of evolving cultural dynamics.
A ground-breaking collection of essays that bring dance into the cultural studies mainstream, exploring the many ways we use our bodies as substantial, vital constituents of cultural reality.
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