The Fosse Woman Analysis of Femininity, Aesthetics, and Corporeality
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KINGSTON UNIVERSITY FACULTY OF ARTS AND SOCIAL SCIENCES The Fosse Woman Analysis of femininity, aesthetics, and corporeality Dara MILOVANOVIĆ JUNE 2018 Submitted for the Degree of Doctor of Philosophy Supervisors: Dr. Simon Brown Dr. Elena Catalano RD12a RESEARCH DEGREE CANDIDATE’S DECLARATION FORM (Please complete in black ink or type) Note: This form must be submitted to the Faculty Office with the candidate’s thesis. Name of Candidate: Dara Milovanovic Student ID No: 1560814 Degree for which dissertation/thesis being submitted: Doctor of Philosophy 1. Concurrent Registration for two or more academic awards (delete as appropriate) * I declare that while registered for a research degree at Kingston University, I have not been a registered candidate or enrolled student for another award at any other academic or professional institution 2. Material submitted for another award (delete as appropriate) *I declare that no material contained in the thesis has been used in any other submission for an academic award. 3. Plagiarism *I declare that all material contained in the thesis is my own original work, and that any references to or use of other sources have been clearly acknowledged within the text. Note that an electronic copy of your thesis may be requested for use with plagiarism detection software. 4. Signature of Candidate....................................................... Date..................................... Address for future correspondence PLEASE PRINT IN CAPITAL LETTERS 1 ABSTRACT Fosse style and ideas regarding gender have radicalised and politicised gender in popular dance on screen. This thesis examines the construction of femininity in Fosse‟s dance repertory for screen through choreography, filmic techniques, and performances by female dancers. Firmly situated in dance analysis, this research relies on an interdisciplinary methodology, which includes dance studies, gender studies, feminist film theory, and post-structuralism. Using theoretical discourses on masquerade, camp sensibility, and feminist film theory the analysis examines the way that female bodies are marked as feminine with choreography and screendance techniques to construct a theatrical performance of hyper-femininity as a political strategy to questions discourses surrounding representations of women in musical films. This thesis critically evaluates the aesthetic properties of spectacle, exaggeration, and artifice in Fosse‟s choreography and its effect on implications of femininity. Representations of femininity are considered in light of aesthetics, specifically excess exhibited through glamour and the grotesque, as a means to comment on gender performativity. This study concentrates on dancing performed by female dancers in Fosse‟s work for screen in order to highlight the construction of femininity as a factor to challenge the hetero-normative, patriarchal system, which surrounds film production and positions images of women as passive. Using post- structural theory, the analysis focuses on the creative labour and corporeal identity of female dancers to challenge Fosse as a sole author of the dances. The examination of historiography indicates that Fosse‟s iconographic dance style and innovation in the way that dance is filmed continues influence on popular dance choreography in the late twentieth and twenty-first century furthers the discussion on authorship and transmission of physical vocabularies through time. Looking through a feminist lens, this study seeks to examine corporeality as subjectivity in order to examine notions of agency and power of female dancers in Fosse‟s work by employing the idea that dance theorises femininity within the film format. 2 ACKNOWLEDGMENTS I would like to extend my deepest gratitude to my first supervisor, Dr. Simon Brown, who has offered invaluable academic, practical, and emotional support for the last three years of my PhD journey. His continuing support and diligent attitude to supervision was beyond obligation and ensured that I complete this PhD. I would like to also thank my second supervisor, who has offered advice and feedback despite only being involved for the last part of the thesis writing. Due to numerous supervision changes, I have worked with a number of supervisors. I would like to sincerely thank Dr. Joanna Hall, who has made my transition to Kingston University smooth and productive. Her attention to my academic development is greatly appreciated. I would also like to thank Professor Sherril Dodds, with whom I started the PhD studies at University of Surrey. Her enthusiasm and rigorous scholarship in popular dance continues to inspire me. Lastly, I extend my thanks to Dr. Melissa Blanco Borelli for setting a stellar example of dance scholarship. I would like to acknowledge the support of my peers who have offered emotional and academic support. I thank Dr. Elena Benthaus who has read and given me valuable feedback on analytical chapters. My biggest thanks go to my dear friend, Dr. Laura Robinson with whom I have shared all the complexities of my PhD journey. She has been instrumental in developing ideas, reading drafts, and offering feedback. More than that, she has offered life advice and helped me endure the difficulties of completing the PhD. I express my deepest gratitude to my family who have supported me from afar despite their difficulties. To my dad, I am indebted for introducing me to Fosse. I would like to thank my mum and sister for believing in me. I would also like to thank the Michael family, my loving and supportive in-laws. I also extend special thanks to my dear friend Rosemary Urwin for her help and support. Finally, I would like to thank my daughter Emily and husband Alex who have patiently stuck by me through this arduous process. I could not have done this without your support and love. 3 TABLE OF CONTENTS Abstract 2 Acknowledgements 3 List of Figures 5 Introduction 6 History of female image on screen 9 Literature Review 21 Research Aims and Objectives 23 Research Procedures and Methodology 25 Research Outline 30 Chapter 1 Construction of Femininity and Feminist Film Theory 34 1.1 Masquerade, Hyper-femininity, and Camp 35 1.2 Burlesque/Neo-Burlesque: Example of Hyper-femininity in Performance 44 1.3 Feminist Film Theory 48 Chapter 2 Screendance Aesthetics: Spectacle and Grotesque Realism 54 2.1 Screendance and Aesthetics 54 2.2 Spectacle as an Aesthetic and Political Statement 59 2.3 Grotesque Realism Aesthetic 70 Chapter 3 Choreography of Hyper-Femininity and Sexiness 78 3.1 Choreographing and Filming Sexiness 80 3.2 Camp as Feminist Strategy 98 Chapter 4 Spectacle: Glamour and the Grotesque Realism in Fosse‟s Choreography 106 4.1 Glamour: Choreographic Excess 112 4.2 Glamorous Virtuosity 118 4.3 Spectacle of the Grotesque 127 Chapter 5 Challenging the Male Gaze: Corporeality and Female Pleasure 138 5.1 Challenging Authorship 140 5.2 Female Pleasure Embodied 155 5.3 Returning the Gaze 161 Chapter 6 Fosse‟s legacy in popular dance 169 6.1 Choreography of Femininity Post-Fosse 176 6.2 Authorship and Copyright 192 Conclusion 199 Bibliography 210 4 LIST OF FIGURES Figure 1. Gwen Verdon in 'Whatever Lola Wants', Damn Yankees (1958). Screenshot. 88 Figure 2 Ensemble in 'Big Spender', Sweet Charity (1969). Screenshot. 96 Figure 3 'Big Spender', Sweet Charity (1969). Screenshot. 102 Figure 4 Opening credits All That Jazz (1979). Screenshot. 110 Figure 5 Ann Reinking 'There'll be some changes made', All That Jazz (1979). Screenshot. 117 Figure 6 Poster for All That Jazz (1979). Private Collection. 117 Figure 7 Ann Reinking in 'There'll be Some Changes Made', All That Jazz (1979). Screenshot. 125 Figure 8 'Wilkommen', Cabaret (1972). Screenshot. 130 Figure 9 Open Heart Surgery in All That Jazz (1979). Screenshot. 134 Figure 10 Liza Minnelli in 'Mein Herr', Cabaret (1972). Screenshot. 143 Figure 11 Liza Minnelli in 'Mein Herr', Cabaret (1972). Screenshot. 144 Figure 12 'Big Spender', Sweet Charity (1969). Screenshot. 156 Figure 13 'Airotica', All That Jazz (1979). Screenshot. 160 Figure 14 'Airotica', All That Jazz (1979). Screenshot. 160 Figure 15 Suzanne Charney and ensemle in 'Rich Man's Frug', Sweet Charity (1969). Screenshot. 163 Figure 16 Suzanne Charney and ensemble in 'Rich Man's Frug', Sweet Charity (1969). Screenshot. 164 Figure 17 Jessica Lange in All That Jazz (1979). Screenshot. 165 Figure 18 Jessica Lange in All That Jazz (1979). Screenshot. 167 Figure 19 Suzanne Charney in 'Rich Man's Frug', Sweet Charity (1969). Screenshot. 186 Figure 20 Beyoncé in Get Me Bodied (2006). Screenshot. 186 Figure 21 Charney and ensemble in 'Rich Man's Frug', Sweet Charity (1969). Screenshot. 187 Figure 22 Beyonce in Get Me Bodied (2006). Screenshot. 187 Figure 23 Chita Rivera, Shirley MacLaine, Paula Kelly in 'There'll be Some Changes Made', Sweet Charity (1969). Screenshot. 189 Figure 24 Beyoncé, Ebony Williams, Ashley Everett in Single Ladies (2006). Screenshot. 189 5 Introduction In 1972, American choreographer and director Bob Fosse created the first television commercial for his Broadway show Pippin’ (Grubb 1989, p. 171). Fosse‟s clever marketing strategy and a shrewd business move created a seamless transition between popular dance on stage and mass media, broadcasting his directorial and choreographic style from the confines of stage setting to a vast television audience. Prior to discussion of research aims and objectives, it is important to establish Fosse‟s iconographic dance style for screen. The commercial presents a sixty second excerpt from the dance „Glory‟, which featured actual material from the musical and encapsulates the Fosse Broadway jazz dance style. The clip showcases major characteristic of the style such as precision that dancers embody as they articulate each carefully choreographed step; minimalism exhibited in the subtle use of isolations seen in the slightly dropped head and quiet pulse of the hip; exaggerated and angular movements of jutted elbows moving mechanically in sync with straight legged backwards walks; economy of movement, such as use of stillness to punctuate movement that precedes or follows the pause; high contrasts of dynamics of movement, such as luxurious circles of the pelvis and syncopated pivoting of the foot.