Download PDF by V. Briginshaw: Dance, Space and Subjectivity

By V. Briginshaw

ISBN-10: 0230229794

ISBN-13: 9780230229792

ISBN-10: 0230272355

ISBN-13: 9780230272354

This booklet includes readings of yankee, British and ecu postmodern dances trained by means of feminist, postcolonialist, queer and poststructuralist theories. It explores the jobs dance and area play in developing subjectivity. by way of concentrating on site-specific dance, the mutual building of our bodies and areas, body-space interfaces and 'in-between spaces', the dances and dance motion pictures are learn 'against the grain' to bare their power for troubling traditional notions of subjectivity linked to a white, Western, heterosexual able-bodied, male norm.

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New PDF release: Dance, Space and Subjectivity

This e-book comprises readings of yank, British and ecu postmodern dances expert by way of feminist, postcolonialist, queer and poststructuralist theories. It explores the jobs dance and area play in developing subjectivity. by means of targeting site-specific dance, the mutual building of our bodies and areas, body-space interfaces and 'in-between spaces', the dances and dance motion pictures are learn 'against the grain' to bare their power for troubling traditional notions of subjectivity linked to a white, Western, heterosexual able-bodied, male norm.

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These key interrelated ideas, current in critical theory, are the blurring of bodily and spatial boundaries, the in-between spaces of hybridity and ambiguity, a focus on inside/outside interfaces, privileging touch and sensation over the visual, focusing on foldings of bodies and space, and on bodily and spatial excesses. When dance is examined using such ideas, the mutual construction of bodies and spaces is at the centre of the investigation. This notion, inherent in Lefebvre’s theories, is developed by Grosz from ideas concerning bodily inscription derived from Foucault.

Characteristics of this ‘transparent’ space according to one geographer Rose cites, Gould, are its ‘infinitude’, its ‘unboundedness’ and the freedom it provides ‘to run, to leap, to stretch and reach out without bounds’ (ibid: 75). She comments ‘these claims of power over space . . suggest to me that [the] space is that of hegemonic masculinity. Only white, heterosexual men usually enjoy such a feeling of spatial freedom. Women know that spaces are not necessarily without constraint; sexual attacks warn them that their bodies are not meant to be in public spaces’ (ibid: 75–6).

The conventional subject/object separation and fixity is disrupted. The normal relation of subject/object paralleling spectator/performer is blurred, as is the relationship between private and public space. For a moment in the film the private space of the woman’s apartment becomes public as it is filmed, but then the drawing of the net curtain reminds the spectator that this is a private space where the camera would not normally intrude. This subject/object separation is part of a whole series of associated dualisms or binaries such as self/other, mind/body, outside/inside, male/female which are hierarchized.

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Dance, Space and Subjectivity by V. Briginshaw


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