List of plates |
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xi | |
Acknowledgements |
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xiii | |
Introduction |
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1 | |
PART I Approaching reworkings of the ballet in theory and practice |
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7 | |
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1 Reworking the ballet: (en)countering the canon |
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9 | |
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9 | |
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Defining the terms of the discourse |
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10 | |
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14 | |
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Counter-discourses and the canon |
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22 | |
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Reconsidering the past: reworking) as postmodern historiography |
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24 | |
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Reworkings as intertextual practices |
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28 | |
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Towards a definition of reworking |
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30 | |
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34 | |
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2 Canonical crossings: narratives and forms revisioned |
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36 | |
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Strategies of dissonance — moments of sameness |
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36 | |
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Inverting bodies: reformulating the dance vocabulary |
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37 | |
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Retelling tales: new contexts, new narratives |
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47 | |
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Gender bending: cross-casting and cross-dressing |
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51 | |
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Feathered pantaloons and homoeroticism |
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51 | |
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Hyperbole and eccentricity |
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58 | |
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The heterosexual matrix and beyond |
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64 | |
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Strategies of dispersal: intertextuality and the carnivalesque |
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67 | |
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77 | |
PART II Refiguring the body and the politics of identity |
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79 | |
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3 Female bodies and the erotic: performativity, becoming and the phallus |
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81 | |
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Encounters between reworkings and feminism |
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81 | |
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Lac de Signes (1983) and The Ballerina's Phallic Pointe (1994) by Susan Leigh Foster |
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84 | |
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Looking-at-to-be-looked-at-ness: performance and spectacle |
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87 | |
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Trans-contextualizing bodies: postmodern parody and hybridity |
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88 | |
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Parodic comedy and the performativity of gender |
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91 | |
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The phallus, the penis, the dildo and the ballerina |
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94 | |
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O (a set of footnotes to Swan Lake) (2002) by Vida L. Midgelow |
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99 | |
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Open texts - enacting becomings |
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104 | |
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Hybrid body — plural bodies — my body |
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106 | |
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Breaking the gaze — inscribing a haptic presence |
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109 | |
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Eroticism and the politics of touch |
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112 | |
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115 | |
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4 Princely revisions: stillness, excess and queerness |
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116 | |
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Masculinities, the male dancer and reworkings |
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116 | |
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Javier de Frutos and The Hypochondriac Bird (1998) |
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120 | |
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Raimund Hoghe and Swan Lake, 4 Acts (2005) |
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123 | |
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128 | |
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Excess: de Frutos and homoeroticism |
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131 | |
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Stillness and (dis)ability: Hoghe and the ontology of dance |
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136 | |
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(Auto)corpography and (beyond) queer theory |
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141 | |
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144 | |
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5 Intercultural encounters: flesh, hybridity and the exotic |
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145 | |
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Reworkings as intercultural discourse |
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145 | |
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Shakti and Swan Lake (098) |
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148 | |
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Masaki Iwana and The Legend of Giselle (jizeru-den) (1994) |
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153 | |
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Cultural (ex)change and hybridity |
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158 | |
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Orientalism and the exotic |
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166 | |
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Enter the silver swan: excess and the erotic |
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172 | |
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Fleshly metamorphosis and becomings in butoh |
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177 | |
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Commodification, appropriation and the global market |
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183 | |
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184 | |
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6 Conclusion: transgressive desires |
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186 | |
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Reworkings as canonical counter-discourse |
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187 | |
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The double gesture: moving beyond binaries |
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189 | |
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Diversity and dfference: (re)inscribing the body |
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191 | |
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Pleasure and power: the (re)-eroticised body |
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192 | |
Notes |
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195 | |
References and bibliography |
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202 | |
Index |
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217 | |