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Dancing with my self: Performing au...

University of California, Riverside.

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Dancing with my self: Performing autobiography in (post)modern dance.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Dancing with my self: Performing autobiography in (post)modern dance./
作者:	Bory, Alison Lee.
面頁冊數:	248 p.
附註:	Adviser: Jacqueline Shea Murphy.
Contained By:	Dissertation Abstracts International69-06A.
標題:	Biography. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3319315
ISBN:	9780549694380

Dancing with my self: Performing autobiography in (post)modern dance.
Bory, Alison Lee.

Dancing with my self: Performing autobiography in (post)modern dance. - 248 p.

Adviser: Jacqueline Shea Murphy.

Thesis (Ph.D.)--University of California, Riverside, 2008.

This dissertation examines choreographies of personal narratives within contemporary (post)modern dance. By rigorously exploring the methods with which (post)modern dance choreographers have staged their own experiences, crafting theatrical dance compositions from their personal stories and understandings of self, I argue that performed autobiographic works provide a site for the continual re-imagining of identity and subjectivity. By re-imagining life through performance, a practice that requires the tools of composition, a cultivated relationship to an audience and continual opportunities for enactment, these artists demonstrate a proliferation of ways that selfhood can be represented and envisioned. I suggest that these danced personal narratives re-"write" autobiographical theory's investment in the representation of a cohesive, unified self and extend contemporary theory's investment in identity as an inherently performative act. In this process, I suggest these pieces reframe the relationship between (post)modern dance and the notion of self-expression that has been pervasively attached to the form.

ISBN: 9780549694380Subjects--Topical Terms:

531296
Biography.

Dancing with my self: Performing autobiography in (post)modern dance.
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520 $a This dissertation examines choreographies of personal narratives within contemporary (post)modern dance. By rigorously exploring the methods with which (post)modern dance choreographers have staged their own experiences, crafting theatrical dance compositions from their personal stories and understandings of self, I argue that performed autobiographic works provide a site for the continual re-imagining of identity and subjectivity. By re-imagining life through performance, a practice that requires the tools of composition, a cultivated relationship to an audience and continual opportunities for enactment, these artists demonstrate a proliferation of ways that selfhood can be represented and envisioned. I suggest that these danced personal narratives re-"write" autobiographical theory's investment in the representation of a cohesive, unified self and extend contemporary theory's investment in identity as an inherently performative act. In this process, I suggest these pieces reframe the relationship between (post)modern dance and the notion of self-expression that has been pervasively attached to the form.
520 $a In order to explore the self-making potentials of autobiographical (post)modern dances, I analyze the compositional process, structure or choreographic devices of many different works. In the first chapter, I address the how dancemaking processes, and their resulting performances, can influence and impact the autobiographical utterances of the eventual products. This section looks closely at the Lucas Hoving/Remy Charlip collaboration of Growing up in Public and Jawole Willa Jo Zollar's Self-Portrait, which is performed by her company, Urban Bush Women. The structuring of autobiographical dances---the intersection of movement, time and space---is the subject of the second chapter. By examining Meredith Monk's solo from Education of the Girlchild, Jennifer Lacey's Two Discussions of an Anterior Event and Miguel Gutierrez's Retrospective Exhibitionist , I suggest that these compositions offer complex ways to stage experience and the subjectivity that is culled from that staging. The third chapter discusses how the languages and options of staging dance works, specifically movement vocabularies and casting choices, provide ways of articulating identity that do not rely on traditional conceptions of marking selfhood. In this section, I discuss two group pieces: Come home Charley Patton by Ralph Lemon and Dream Analysis by Mark Dendy.
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