By Emilyn Claid
Covering fifty years of British dance, from Margot Fonteyn to leading edge modern practitioners equivalent to Wendy Houstoun and Nigel Charnock, Yes? No! Maybe is an cutting edge method of appearing and staring at dance.
Emilyn Claid brings her lifestyles event and interweaves it with educational idea and ancient narrative to create a dynamic method of dance writing.
Using the Nineteen Seventies revolution of latest dance as a hinge, Claid seems again to ballet and ahead to British autonomous dance that's new dance’s legacy. She explores the shifts in performer-spectator relationships, and investigates questions of subjectivity, absence and presence, identification, gender, race and wish utilizing psychoanalytical, feminist, postmodern, post-structuralist and queer theoretical views.
Artists and practitioners, specialist performers, lecturers, choreographers and theatre-goers will all locate this publication an informative and insightful read.
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Additional resources for Yes? No! Maybe...: Seductive Ambiguity in Dance
As he steps, his front arm ﬂoats softly upwards to symmetrically balance the height to his back leg. His movements are simple, there is no showiness. This is cool constrained passion, truly English – and desire-less. While the worldly creatures in The Dream are mundane, clumsy and desire-full, the creatures in Dowell’s fairyland are perfectly transcendent. His is a geometrically proportioned body, muscular yet delicate, colt-like, with high insteps, pert backside and arched back. Androgyny, like beauty, upholds the traditions of classical Greek aesthetics.
Madame is the grand dame of suburban stage schools. She wears her experiences of the Ballets Russes on her body like medieval armour, an architecture of formidable gothic design. Each morning, she stomps through our tiny cold dressing room that is clouded with stale talcum powder. She strides through her smoke-ﬁlled ofﬁce and into the dance studio. Footsteps of clicks and thumps warn everyone of her approach. Her stiletto heels frequently catch between the ﬂoorboards. Her entrances and exits are grand, theatrical events, pervading every inch of available space, throwing us wispy girls breathless against the walls.
Human bodies do not transcend naturally; gravity pulls the body down to earth. Consequently, the body itself must be inscribed incisively to represent and signify ballet’s meanings and values. Legs do not usually turn outwards or lift above hip height, necks do not lengthen naturally, backs do not arch easily and spontaneously; they must be trained, persuaded, day in and day out, through years of practice, to conform. And it cannot be done without pain. Through pain, muscles and bones are moulded to create the system’s persuasion of ‘normal’.