Can the Structuralist Subject Dance? Trisha Brown, Gilles Deleuze, and the Performative Structure-Object.
This article argues that a series of dances made by choreographer and dancer Trisha Brown between 1971 and 1975 using accumulation can be understood as performative structure-objects. This is a form of art that paved the way for two current tendencies in art and dance: the generalization of dance in...
| Publicado en: | Dance Chronicle Vol. 47; no. 3; pp. 506 - 525 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Sep-Dec2024
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| Sumario: | This article argues that a series of dances made by choreographer and dancer Trisha Brown between 1971 and 1975 using accumulation can be understood as performative structure-objects. This is a form of art that paved the way for two current tendencies in art and dance: the generalization of dance into art and the development of the role of the dancer as artist. The concept of the performative structure-object unfolds in the article through a close analysis of Brown's dances in dialogue with the concept of structure found in Gilles Deleuze's essay "How Do We Recognize Structuralism?" (1967). His article emphasizes a concept of structure understood as both subject and object, as well as a site of practice. While research has been undertaken in dance studies on Brown and the importance of structures in her work, this article expands this research by reconstructing a philosophical concept of structure in her work that has not yet been explored. |
|---|