Next Article in Journal
Not Different Enough: Avoiding Representation as “Balkan” and the Constrained Appeal of Macedonian Ethno Music
Previous Article in Journal / Special Issue
Trisha Brown: Between Abstraction and Representation (1966–1998)
Open AccessArticle

Rosas, the Storyless, and Roles

Department of Art and Art History, University of Rochester, Rochester, NY 14627, USA
Received: 15 November 2019 / Revised: 20 December 2019 / Accepted: 22 March 2020 / Published: 28 March 2020
(This article belongs to the Special Issue Dance and Abstraction)
Analyzing the early work of Anne Teresa De Keersmaeker—and particularly Rosas danst Rosas (1983)—this article examines the notion of “the storyless” in relation to the role: that pillar of dance, and especially choreography, which enables the individuation, transmission, and exchange of each dancer’s part. Set in relation to the principles of serial music that De Keersmaeker had already explored in Fase (1982) and to the idea of seriality itself, the role provides a way to consider how “storylessness” could be both emancipatory and feminist. It responds to identitarian models of feminist argumentation by suggesting that a virtue of certain forms of abstraction lies in the pleasurable ways that dance’s roles demonstrate the circulability and exchangeability of the self. View Full-Text
Keywords: abstraction; dance; choreography; roles; serialism; postmodern; feminism; European; contemporary; stories abstraction; dance; choreography; roles; serialism; postmodern; feminism; European; contemporary; stories
Show Figures

Figure 1

MDPI and ACS Style

Haidu, R. Rosas, the Storyless, and Roles. Arts 2020, 9, 44.

Show more citation formats Show less citations formats
Note that from the first issue of 2016, MDPI journals use article numbers instead of page numbers. See further details here.

Article Access Map by Country/Region

1
Search more from Scilit
 
Search
Back to TopTop