Designed for students, scholars and general readers with an interest in dance and queer history, A Queer History of the Ballet focuses on how, as makers and as audiences, queer men and women have helped to develop many of the texts, images, and legends of ballet. Presenting a series of historical case studies, the book explores the ways in which, from the nineteenth century into the twentieth, ballet has been a means of conjuring homosexuality – of enabling some degree of expression and visibility for people who were otherwise declared illegal and obscene. Studies include: the perverse sororities of the Romantic ballet the fairy in folklore, literature, and ballet Tchaikovsky and the making of Swan Lake Diaghilev’s Ballets Russes and the emergence of queer modernity the formation of ballet in America the queer uses of the prima ballerina Genet’s writings for and about ballet. Also including a consideration of how ballet’s queer tradition has been memorialized by such contemporary dance-makers as Neumeier, Bausch, Bourne, and Preljocaj, this is an essential book in the study of ballet and queer history.
This is three books in one: an impressionistic account (based on the aestheticism of Walter Pater) of the dancer's homoerotic career, a deconstructive analysis of his gay male reception (drawn from the semiotics of Roland Barthes), and an exploration of the limitations of that analysis.
Essay from the year 2020 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: 15, Leuven Catholic University, language: English, abstract: This paper answers two questions about contemporary dance and its relation to the body and mind. Dance studies emerged in the 1980s as a reaction against dance history. Many scholars critically questioned the ‘master narrative’ of Modernism that is often advanced in dance history. The essay "The Ballerina’s Phallic Pointe" by Susan Leigh Foster can be seen as a good example of this critique. How does Foster react against the dominant conceptualization of contemporary ballet? Secondly the essay answers the question, why temporality is an important concept in both queer and crip theory. It explains both theories and their differences. Furthermore, it answers the question, whether crip temporality can be an interesting concept to analyse disability dance. To illustrate results the essay analyses Daniel Linehan's "Body of Work" in relation to crip time.