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DOCTORAL THESIS the Dancer's Contribution: Performing Plotless

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DOCTORAL THESIS the Dancer's Contribution: Performing Plotless DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). It explores how performers across different company cultures perform and conceptualise several solo roles in these works. The research focuses on the dancers from the choreographers’ resident troupes (New York City Ballet, Ballett Frankfurt), and performers in the productions by several international repertory companies. The thesis is structured as a discursive, analytical space that merges two distinct vantage points: that of the spectator and of the performer. Dancers in this thesis, therefore, are not passive subjects, but important contributors and narrators of their individual processes and experiences. The study functions as a meeting place, bringing to light the links between the performer’s ideas and the spectator’s perception of the dance. The methodology integrates ethnographic approaches (observation and qualitative interviews) with movement analysis. The complex influences behind the dancers’ approaches are viewed in relation to their specific cultural contexts and Pierre Bourdieu’s notion of habitus. The examination of the finer details of the performances and dancers’ contributions in set choreography reveals a range of conceptualisations, from abstract to thematic imagery, and from fictional to documentary narratives. The study demonstrates that the dancers’ imprint in the leotard ballets is a complex set of culturally conditioned, embodied qualities and ii actions (both conscious and/or unintended). Together these form a type of individual “agency”, which shapes the look of the role and the overall ballet, particular to a single performance and to specific points in the dancer’s career. iii TABLE OF CONTENTS ABSTRACT .............................................................................................................................ii TABLE OF CONTENTS ............................................................................................................iv ACKNOWLEDGEMENTS .........................................................................................................vii INTRODUCTION .......................................................................................................................1 CHAPTER 1: MAPPING THE TERRAIN: LOCATING THE GENRE OF LEOTARD BALLET .................................8 1.1 DANCERS IN ABSTRACT AND PLOTLESS BALLETS: ISSUES OF TERMINOLOGY ...........8 1.2 THE EMERGENCE OF PLOTLESS BALLETS AND THE EFFECT ON THE DANCER’S ROLE.........................................................................................................................18 1.3 THE DANCER’S CREATIVE PROCESS: NARRATIVE AND ABSTRACT ROLES ................22 1.4 LEOTARD BALLETS: THE SUB-GENRE AND ITS DISTINCT ISSUES ..............................26 1.5 SUMMARY OF CHAPTER ONE ....................................................................................32 CHAPTER 2: METHODOLOGY ..................................................................................................................36 2.0 INTRODUCTION: THE BALLET DANCER’S ROLE THROUGH THE PERSPECTIVES OF SPECTATORS AND PERFORMERS ..............................................................................36 2.1 THE BALLET DANCER’S CONTRIBUTION VIEWED FROM THE SPECTATOR’S PERSPECTIVE ...................................................................................................................37 2.1.1 THEORETICAL POSITIONING OF THE PERFORMER’S CONTRIBUTION ................41 2.2 HISTORICAL SOURCES FROM THE PERFORMER’S PERSPECTIVE ................................51 2.3 INTEGRATED APPROACHES IN THE CURRENT DANCE SCHOLARSHIP ........................55 2.4 BLENDING THE BINARIES: THE THESIS METHODOLOGY............................................60 2.5 BUILDING THE CASE STUDIES ...................................................................................64 2.6 ANALYSING THE DANCER’S PERFORMANCE: LABAN’S METHODS ............................65 2.6.1 MOTIF WRITING ...............................................................................................67 2.6.2 EFFORT AND SHAPE..........................................................................................68 2.6.3 CHOREUTICS AND KINESPHERE .........................................................................71 2.7 DANCE ANALYSIS AND FILMED PERFORMANCE RECORDS .......................................73 2.8 ETHNOGRAPHIC ASPECTS: SPRADLEY’S MODEL ......................................................78 2.9 SUMMARY OF CHAPTER TWO ...................................................................................82 CHAPTER 3: THE CONTEXT OF THE DANCER’S PERFORMANCE: TRAINING AND COMPANY CULTURE............................................................................................................................86 3.0 INTRODUCTION: UNDERSTANDING THE CONTEXT OF THE DANCER’S WORK ..........86 3.1 TRAINING IN THE BALLET SCHOOL ............................................................................90 3.2 TRAINING IN THE COMPANY.......................................................................................94 3.3 INTERNAL AND EXTERNAL COACHING PRACTICES ...................................................97 3.4 THE CONTEXT OF COMPANY CULTURE ...................................................................101 iv 3.5 SUMMARY OF CHAPTER THREE ..............................................................................105 CHAPTER 4: DANCERS IN BALANCHINE’S BLACK AND WHITE BALLETS: THE FOUR TEMPERAMENTS (1946) AND AGON (1957).................................................................109 4.0 INTRODUCTION .......................................................................................................109 4.1 A PRACTICE CLOTHES VERSION (1951) OF THE FOUR TEMPERAMENTS (1946)........113 4.2 “MELANCHOLIC” ....................................................................................................116 4.3 THE FEMALE ROLE IN “SANGUINIC” .......................................................................132 4.4 AGON (1957) ..........................................................................................................147 4.5 “BRANSLE GAY” .....................................................................................................148 4.6 BALANCHINE’S EXAMPLES: A SUMMARY ................................................................164 CHAPTER 5: WILLIAM FORSYTHE’S BALLETS IN THE 1980S AND 1990S ................................................171 5.0 INTRODUCTION .......................................................................................................171 5.1 THE SECOND DETAIL ................................................................................................179 5.2 THE “TRACY” SOLO ................................................................................................187 5.3 THE “NORA” SOLO ..................................................................................................199 5.4 STEPTEXT (1985) ....................................................................................................217 5.5 THE FEMALE SOLO IN STEPTEXT .............................................................................221 5.6 FORSYTHE EXAMPLES - A SUMMARY .....................................................................233 CHAPTER 6: THE DANCER’S CONTRIBUTION IN LEOTARD BALLETS: MAJOR THEMES...........................239 6.0 INTRODUCTION .......................................................................................................239 6.1 PERFORMING PLOTLESS ROLES: THE DANCER’S IDEAS ..........................................240 1. ABSTRACT IDEAS AND REFERENCES ................................................................241 2. (NON)FICTIONAL NARRATIVES ........................................................................244 3. THE INCLUSION OF METAPHORIC
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