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Talking dancing: The choreography of...

Keefe, Maura.

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Talking dancing: The choreography of space and character in contemporary United States dance.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Talking dancing: The choreography of space and character in contemporary United States dance./
Author:	Keefe, Maura.
Description:	243 p.
Notes:	Chair: Susan Leigh Foster.
Contained By:	Dissertation Abstracts International63-02A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3042845
ISBN:	0493565736

Talking dancing: The choreography of space and character in contemporary United States dance.
Keefe, Maura.

Talking dancing: The choreography of space and character in contemporary United States dance. - 243 p.

Chair: Susan Leigh Foster.

Thesis (Ph.D.)--University of California, Riverside, 2002.

This dissertation investigates the multiple relationships between talking and dancing in U.S. contemporary dance. Talking dancing questions the very conventions of narrativity by thwarting, resisting, or fragmenting narrative. The dances inhabit narrative and shift the focus from familiar stories, to new stories, dependent on the body's ability to signify and intentional movement through space and time. The works of four choreographers provide the basis for the theorization of talking dancing: Ann Carlson, Bill T. Jones, Joe Goode, and David Roussève. In Chapter 1, I define the field of talking dancing with a survey of dances from numerous choreographers. While the primary focus of this project is dances choreographed since the 1970s, I reference dances created throughout the twentieth century. Chapter 1 also gives a historical overview of critical responses to talking dancing, beginning with reactions in the 1930s. After providing a broad scope of the field in Chapter 1, in Chapter 2, I narrow the focus to a single example of talking dancing, Trisha Brown's <italic>Accumulation with Talking Plus Watermotor</italic> (1978) to demonstrate both the variety of perspectives from which talking dancing can be analyzed and the simultaneous occurrence of multiple operations in a single dance. Chapter 2 goes on to give a genealogy of talking dancing. Following the work of historian Michel Foucault, I suggest that the history of talking dancing is best looked at as a collection of ideas in circulation rather than a series of linear or chronological events. Chapter 3 examines the ways in which the choreography of talking dancing create characters that are complex, and at times, intentionally contradictory. Chapter 4 addresses the question of what structures talking dancing employ if not a traditional narrative. Chapter 5 examines the ways in which the choreography of talking dancing deliberately challenges theatrical spatial conventions to make room for the alternative stagings of identity and fragmented narratives.

ISBN: 0493565736Subjects--Topical Terms:

610547
Dance.

Talking dancing: The choreography of space and character in contemporary United States dance.
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020 $a 0493565736
035 $a (UnM)AAI3042845
035 $a AAI3042845
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100 1 $a Keefe, Maura. $3 1253384
245 1 0 $a Talking dancing: The choreography of space and character in contemporary United States dance.
300 $a 243 p.
500 $a Chair: Susan Leigh Foster.
500 $a Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0393.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2002.
520 $a This dissertation investigates the multiple relationships between talking and dancing in U.S. contemporary dance. Talking dancing questions the very conventions of narrativity by thwarting, resisting, or fragmenting narrative. The dances inhabit narrative and shift the focus from familiar stories, to new stories, dependent on the body's ability to signify and intentional movement through space and time. The works of four choreographers provide the basis for the theorization of talking dancing: Ann Carlson, Bill T. Jones, Joe Goode, and David Roussève. In Chapter 1, I define the field of talking dancing with a survey of dances from numerous choreographers. While the primary focus of this project is dances choreographed since the 1970s, I reference dances created throughout the twentieth century. Chapter 1 also gives a historical overview of critical responses to talking dancing, beginning with reactions in the 1930s. After providing a broad scope of the field in Chapter 1, in Chapter 2, I narrow the focus to a single example of talking dancing, Trisha Brown's <italic>Accumulation with Talking Plus Watermotor</italic> (1978) to demonstrate both the variety of perspectives from which talking dancing can be analyzed and the simultaneous occurrence of multiple operations in a single dance. Chapter 2 goes on to give a genealogy of talking dancing. Following the work of historian Michel Foucault, I suggest that the history of talking dancing is best looked at as a collection of ideas in circulation rather than a series of linear or chronological events. Chapter 3 examines the ways in which the choreography of talking dancing create characters that are complex, and at times, intentionally contradictory. Chapter 4 addresses the question of what structures talking dancing employ if not a traditional narrative. Chapter 5 examines the ways in which the choreography of talking dancing deliberately challenges theatrical spatial conventions to make room for the alternative stagings of identity and fragmented narratives.
590 $a School code: 0032.
650 4 $a Dance. $3 610547
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710 2 0 $a University of California, Riverside. $3 791122
773 0 $t Dissertation Abstracts International $g 63-02A.
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790 1 0 $a Foster, Susan Leigh, $e advisor
791 $a Ph.D.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3042845