MARC Record from marc_columbia

LEADER: 04301cam a22004694a 4500
001 5780810
005 20221121204143.0
008 050926s2006 enka b 001 0 eng
010 $a 2005028147
015 $aGBA612182$2bnb
016 7 $a013375195$2Uk
016 7 $a013375197$2Uk
020 $a0415371562 (hbk. : alk. paper)
020 $a041537247X (pbk. : alk. paper)
020 $a0203969502 (ebk.)
035 $a(OCoLC)ocm61864151
035 $a(NNC)5780810
035 $a5780810
040 $aDLC$cDLC$dUKM$dBAKER$dBWKUK$dCOO$dOCLCQ
042 $apcc
043 $ae-uk---
050 00 $aGV1588.6$b.C55 2006
082 00 $a792.8$222
100 1 $aClaid, Emilyn.$0http://id.loc.gov/authorities/names/n97840889
245 10 $aYes? no! maybe-- :$bseductive ambiguity in dance /$cEmilyn Claid.
260 $aLondon ;$aNew York :$bRoutledge,$c2006.
300 $ax, 245 pages :$billustrations ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [215]-232) and index.
505 0 $aContents -- List of figures -- Acknowledgements -- Introduction -- 1. Setting the scene -- 2. X6: a hinge in time -- Yes? -- I. Fantasies of perfection: setting the scene for change -- 3. The upward line -- 4. Watching ballet: illusion becoming real -- 5. Performing ballet: real becoming illusion -- 6. Classical androgyny -- 7. Cracking the myth -- 8. The Oedipal narrative -- 9. An articulate silence -- 10. Dying to please -- No! -- II. Coming down to earth as dancing subjects -- 11. Expressions from the lifeworld -- 12. Figures of parody -- 13. Subverting tragedy -- 14. Feminist battles with androgyny -- 15. Within the frame of new dance -- 16. Letting go of the mirror -- 17. Figures of jouissance -- 18. K/no/w body of illusion: seduction in reverse -- 19. Derrida's presents -- 20. Parallel emergences -- 21. Different visibilites -- 22. Negation of seduction -- 23. The other of the other -- 24. Kristeva's crunch -- 25. Collective strategies -- 26. The X6 legacy -- 27. Drawn to the mainstream -- 28. Repertory versus project -- 29. Middle mush -- Maybe... -- III. Depth becomes surface and ambiguous points of play -- 30. Process to product -- 31. Full body empty body -- 32. The chameleon -- 33. Boys transcending -- 34. His look, his gaze -- 35. Bodies of pleasure -- 36. Letting go of fear -- 37. Re-figuring androgyny -- 38. Queer living -- 39. Re-dressing the girls -- Conclusion -- 40. Eye flight.
520 $aYes? No! Maybe...Seductive Ambiguity in Dance is a book about performing and watching dance. Using a unique combination of historical, academic and autobiographical voices, it covers 50 years of British dance, from Margot Fonteyn in the 1950s to innovative contemporary practitioners such as Wendy Houstoun, Nigel Charnock, Lloyd Newson, Javier de Frutos 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 re-figured as embodied strategies with which to enliven performer-spectator relations.
650 0 $aDance$xSocial aspects.$0http://id.loc.gov/authorities/subjects/sh85035676
650 0 $aDance$xPhilosophy.$0http://id.loc.gov/authorities/subjects/sh85035668
650 0 $aSeduction$xPsychological aspects.
650 0 $aAudiences.$0http://id.loc.gov/authorities/subjects/sh85009454
650 0 $aGender identity in dance.$0http://id.loc.gov/authorities/subjects/sh2002002210
600 10 $aClaid, Emilyn.$0http://id.loc.gov/authorities/names/n97840889
650 0 $aDance$zGreat Britain$xHistory.
856 41 $3Table of contents$uhttp://www.loc.gov/catdir/toc/ecip061/2005028147.html
852 00 $bbar$hGV1588.6$i.C55 2006
852 00 $bglx$hGV1588.6$i.C55 2006