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1981
Volume 4, Issue 2
  • ISSN: 1757-1871
  • E-ISSN: 1757-188X

Abstract

This article investigates the dialectical tension inherent in the dancer’s dual role as object and subject within performance. The article begins by noting that the dancer and choreographer’s investment in a somatic understanding of movement privileges the dancer’s subjectivity within the creation of dance, inviting the audience to engage empathetically with the dancer’s work. This proposition is explored through a brief analysis of Steve Paxton’s early presentations of contact improvisation. The question of how a somatically informed choreographic framework might encourage alternative modes of spectatorship is then explored through a more sustained investigation of Joyride – a solo made by the independent dance artist Colin Poole in 2008.

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/content/journals/10.1386/jdsp.4.2.257_1
2012-11-19
2025-02-06
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