Rosas, the Storyless, and Roles
Department of Art and Art History, University of Rochester, Rochester, NY 14627, USA
Arts 2020, 9(2), 44; https://doi.org/10.3390/arts9020044
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►▼ Show Figures
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MDPI and ACS Style
Haidu, R. Rosas, the Storyless, and Roles. Arts 2020, 9, 44.
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Haidu R. Rosas, the Storyless, and Roles. Arts. 2020; 9(2):44.Chicago/Turabian Style
Haidu, Rachel. 2020. "Rosas, the Storyless, and Roles." Arts 9, no. 2: 44.
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