Can the Structuralist Subject Dance?: Trisha Brown, Gilles Deleuze, and the performative structure-object
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| Title: | Can the Structuralist Subject Dance?: Trisha Brown, Gilles Deleuze, and the performative structure-object |
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| Authors: | Wikström, Josefine, PhD, 1983 |
| Source: | Dance chronicle. 47(3):506-524 |
| Subject Terms: | Trisha Brown, Gilles Deleuze, structuralism, subject, dance, minimalism, performativity, structure-object, strukturalism, subjekt, dans, performativitet, struktur-objekt, Kritisk kulturteori, Critical and Cultural Theory |
| Description: | 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. |
| File Description: | electronic |
| Access URL: | https://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-54853 https://doi.org/10.1080/01472526.2024.2392357 |
| Database: | SwePub |
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Nájsť tento článok vo Web of Science | Abstract: | 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. |
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| ISSN: | 01472526 15324257 |
| DOI: | 10.1080/01472526.2024.2392357 |