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Postmodern Theory and the Choreography of Michael Clark Rachel Mathews

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Postmodern Theory and the Choreography of Michael Clark Rachel Mathews University of Surrey Division of Dance Studies Postmodern Theory and the Choreography of Michael Clark October 1992 by Rachel Mathews A dissertation submitted in part fulfillment of the requirement for the award of M.A. in Dance Studies (c) Rachel Mathews 1992 ABSTRACT This study addresses two interrelated questions: Can postmodern 'theory' illuminate an understanding of Michael Clark's work? and, a sub-question, In which ways, if at all, does Clark's work demonstrate a postmodern sensibility? Chapter one, the introduction to this study, provides a 'portrait' of postmodemism, that is, it addresses the question What is postmodernism? Chapter two is a biography of Michael Clark. The seminal sections to this study, however, are chapters three and four. Here the author blends a discussion of a) subject matter, treatment and meanings in Clark's choreography, b) journalistic criticisms of those features of his work, and c) postmodern theory. The outcome of these chapters is to demonstrate that Clark's works do indeed require re­ interpretation and re-evaluation, and to illustrate how these factors might be achieved. i ACKNOWLEDGMENTS I would like to express my sincere thanks to all staff members of the Division of Dance Studies and of the National Resource Centre for Dance for their availability and support. In particular I wish to extend my gratitude to Dr Georgiana Gore and Professor Janet Adshead-Lansdale for their irreplaceable advice. ii Table of CONTENTS Abstract i Acknowledgements ii Contents iii Chapter One INTRODUCTION . 1 Chapter Two BIOGRAPHY OF MICHAEL CLARK . 16 Chapter Three SUBJECT MATTER AND MEANING IN MICHAEL CLARK'S CHOREOGRAPHY • 29 Chapter Four TREATMENT OF SUBJECT MATTER IN MICHAEL CLARK'S CHOREOGRAPHY . 41 4.1 Introduction 41 4.2 Pastiche I Parody 45 4.3 Radical Juxtaposition 53 4.4 "A brutal aesthetic of squalor and shock" (Eagleton cited in Harvey, 1990, p 8) 55 iii (Table qfContents) 4.5 Conclusion . 58 Chapter 5 CONCLUSION . 59 APPENDICES . 63 Appendix 1 Diagrammatic summary of ideas pertaining to interpretation in the dance analysis model . 63 Appendix2 Choreochronology of Michael Clark's work . 64 Appendix 3 Subject matter, treatment, and meanings in Michael Clark's choreography 81 Appendix4 Choreographic outline of Because We Must (1990) . 91 Appendix 5 Illustrations of the costumes of Because We Must ( 1990) . 109 Appendix 6 Description of the sets of Because We Must (1990) . 132 BIBLIOGRAPHY . 137 iv Chapter One INTRODUCTION Many epithets have been attached to British choreographer Michael Oark. In the mid- 1980s Macaulay described him as "an icon of post-punk, gender-bending, radical chic" (1986b, p 50). He has been termed British <lance's bad boy wonder, star boy, golden boy, en/ant terrible, idol of the media, Royal Ballet rebel, rock star, punk Nijinsky, international superstar and master of his trade (Anon, 1992e, p 57; Manning and Dixon, 1988, p 49; Jordan, 1988b, p 15; Cruickshank, 1985, p 20; Bowen, 1992, p 16; Clarke, 1984; Clarke, 1985a; Towers, 1986, p 69; Anon, 1991, p 99; Leslie, 1992). The French press once dubbed him le meteore, and the Italian press, the scandalo nel balleto (Meisner, 1984b, p 31; Bum, 1986, p 73). It is characteristic of critics' responses to Michael Clark that many of these labels contain both an element of extreme praise and of fault-finding sarcasm. Although the decision to study Clark was initially prompted by a general curiosity, it was this seemingly paradoxical journalistic response which inspired the specific questions that this study investigates. Reviewing the recent premiere of Michael Clark's Modem Masterpiece, Sophie Constanti remarks of Clark that "his contribution (so far) to British dance has been ridiculously undervalued and misunderstood" (1992). This study is an attempt to ascertain whether postmodern 'theory'1 is useful in achieving a re-interpretation and re- evaluation of Clark's work. Stated differently, this study, then, addresses the following question: Can postmodern 'theory' illuminate an understanding of Michael Clark's work? This question involves answering a sub-question: In which ways, if at all, does 1The word 'theory' has been placed in quotation marks in the text to acknowledge the fact that postmodern writers explicitly attack any notion that there is a meta-language, meta-theory or meta­ narrative through which all things can be connected or represented (Harvey, 1990, p 44-45). 1 Chapter One ([ ntroduction) Clark's work demonstrate a postmodern sensibility? Criticism of Clark's performance as a dancer and choreographer has been, to date, almost entirely journalistic, making this, as far as the author is aware, the first academic study of Clark of its scale. Stephanie Jordan, in her recent publication Striding out: aspects of contemporacy and new dance in Britain (1992), makes very brief mention of Clark as a dancer. A more substantial study of Clark is contained in Lycouris' 1991 M.A. Dance Studies dissertation from the University of Surrey titled Semiotics and postmodern dance. Here an entire chapter is devoted to Clark's 1990 television version of his 1987 stage work Because We Must. An explanation of the extent to which the present study is a development of Lycouris' chapter is contained in the introduction to chapter three. Before similar methodological issues are addressed in this introduction it is firstly crucial to clarify the term 'postmodernism'. 'Postmodernism' is a term at once widely used yet extremely elusive to define (Featherstone, 1988, p 195). In his 1991 work titled Images of postmodern society: social theozy and contemporacy cinema, Denzin attempts a definition. He writes that the terms postmodern and postmodernism have simultaneously been used to refer to four interrelated phenomena: (1) a movement called postmodernism in the arts; (2) a new form of theorizing the contemporary historical moment...; (3) historical transformations that have followed World War Two; and (4) social, cultural, and economic life under late capitalism. (Denzin, 1991, p 3) While aspects of Denzin's list may be questionable, the purpose of its inclusion here is to illustrate that the term has been applied to an extraordinarily broad range of phenomena. While this in itself makes clarifying the concept a complex task, when reading postmodern theory one is also faced with a vast plurality, often conflictual, of 2 Chapter One (/n(roduction) postmodern positions (Best and Kellner, 1991, p 2). Harvey in his The condition of postmod.emity (1990) provides a group of the most central questions within the debates surrounding postmodern theory. He asks, does postmodemism represent a radical break with modernism, or is it simply a revolt within modernism against a certain form of 'high modernism'? Is postmodemism a style or a periodizing concept? Does it have a revolutionary potential by virtue of its opposition to all forms of meta-narratives (for example, Marxism, Freudianism, and all forms of Enlightenment reason) and its close attention to 'other worlds' and 'other voices' (for example, women and gays)? Or is it simply the commercialization and domestication of modernism, and a reduction of the latter's aspirations to laissezfaire market eclecticism? Does it, therefore, integrate with or undermine neo-conservative politics? Finally, should one attach its rise to a radical restructuring of capitalism, the emergence of a 'postindustrial' society, view it as the 'art of an inflationary era' or as the 'cultural logic of late capitalism' (as Newman and Jameson have done)? (Harvey, 1990, p 42). The purpose of this section is not to provide answers to these questions but to elucidate the concept of postmodernism keeping in mind the fact that much theory which adopts, or is identified in, 'postmodern' terms, puts forth viewpoints with respect to these issues (Best and Kellner, 1991, p 2). A useful place to begin in an attempt to grasp postmodemism and the family of concepts which surround the term, is with a perusal of the table of Schematic differences between modernism and postmodernism created by Hassan (1985, p 123-4) and included in this study under the heading Figure 1(p4). Drawing on fields as diverse as linguistics, anthropology, philosophy, rhetoric, political science, and theology, Hassan has set up a series of stylistic oppositions in order to illustrate the ways in which postmodemism may be portrayed as a reaction to the modem. While, as Hassan notes, it is dangerous to depict complex relations as simple polarizations, there is nevertheless much in this table which captures what the differences might be (Harvey, 1990, p 43- 44 ). In what follows, a number of the more important oppositions are considered in a 3 Chapter One (/ntroduction) Fi&Ure 1 Schematic differences between modernism and postmodernism. modernism postmodernism romanticism I symbolism paraphysics I Dadaism form (conjunctive, closed) antiform (disjunctive, open) purpose play design chance hierarchy anarchy mastery I logos exhaustion I silence art object I finished work process I performance I happening distance participation creation I totalization I synthesis decreation I deconstruction I antithesis presence absence centring dispersal genre I boundary text I intertext semantics rhetoric paradigm syntagm hypotaxis parataxis metaphor metonymy selection combination root/ depth rhizome I surface interpretation I reading against interpretation I misreading signified signifier lisible (readerly) scriptible (writerly) narrative I grande histoire anti-narrative I petite histoire
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