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Choreographing theory: an analysis of douard Lock's Amelia (2002) questioning the limits of feminist and poststructuralist perspectives

机译:编舞理论:对杜阿德·洛克(Duard Lock)的《阿米莉亚(Amelia)》(2002)的质疑,质疑女权主义和后结构主义视角的局限性

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douard Lock's dance film Amelia (2002) is the focus of this essay. Second-wave feminist and poststructuralist perspectives inform the analysis of this piece of contemporary dance. Laura Mulvey's male gaze theory and Julia Kristeva's theory of the semiotic and symbolic realms of representation are explored and critiqued, whilst Jacques Derrida's deconstruction forms the basis of the poststructuralist inquiry. The work of dance scholars including Ann Daly, Susan Leigh Foster and Ann Cooper Albright is drawn upon in relation to applying these theories to dance. This analysis demonstrates how dance, and specifically Lock's work, questions the limits of feminist and poststructuralist theories. The dissection of binary oppositions is a feminist and poststructuralist concern and as such, this common strategy is investigated through Amelia. Application of feminist and poststructuralist theories demonstrate that Lock's choreography presents ambiguous gender identities and challenges the boundaries of balletic convention whilst also acknowledging the necessity of conventional frameworks of identity. This analysis serves to highlight Lock's choreography as a valuable tool for comparing feminist and poststructuralist theories and leads to useful lines of questioning in each.
机译:douard Lock的舞蹈电影Amelia(2002)是本文的重点。第二波女权主义者和后结构主义者的观点为这一当代舞蹈的分析提供了信息。劳拉·穆维(Laura Mulvey)的男性凝视理论和朱莉娅·克里斯蒂娃(Julia Kristeva)的符号学和象征性表征领域理论得到了探索和批判,而雅克·德里达(Jacques Derrida)的解构主义则构成了后结构主义探究的基础。在将这些理论应用于舞蹈方面,借鉴了包括安·戴利,苏珊·利·福斯特和安·库珀·奥尔布赖特在内的舞蹈学者的著作。该分析表明,舞蹈,尤其是洛克的著作,如何质疑女权主义和后结构主义理论的局限性。二元对立的剖析是女性主义和后结构主义的关注,因此,这种共同的策略是通过阿米莉亚研究的。女权主义和后结构主义理论的应用表明,洛克的编舞呈现出模棱两可的性别认同,并挑战了弹跳惯例的边界,同时也承认了传统认同框架的必要性。这种分析突出了洛克的编排方法,它是比较女权主义理论和后结构主义理论的宝贵工具,并在每种理论中引出了有用的疑问。

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