Rebecca Chaleff
Biographic Data
| ID | 2106754 |
|---|---|
| NAME | Rebecca Chaleff |
| GIVEN NAMES | Rebecca |
| FAMILY NAME | Chaleff |
| SIGNATURE | CHALEFF R |
| AFFILIATIONS | Rebecca Chaleff is a PhD candidate in the Department of Theater and Performance Studies at Stanford University, minoring in Feminist, Gender, and Sexuality Studies. Her scholarship explores how choreographic legacies shape artistic afterlives within our contemporary neoliberal climate. She has published several performance reviews in Performance Research and has received support for her research from the Ric Weiland Graduate Fellowship and the Marilyn Yalom Research Fund. |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 8 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Circumspect Moves
This essay applies what I term a "circumspect methodology" to Bebe Miller's digital archives to ask how archives craft futures for dance that are not oriented toward reperformance and reenactment. I argue that Miller's archives are not bound to repetition, even while they sustain a relationship with neoliberal capitalism through their use of the digital. By attending to the peripheries of virtual artistic spaces, the ways that race both structure…
Unruly Choreographies and the Contradictions of Safety
It is May, 2024. Right now, in the face of horrific violence, I feel overwhelmed and useless. It feels selfish to even wonder, at such a time, what my role is, or could be, in all of this. What dif
Economies of Reperformance
As the very first wave of the Covid-19 pandemic ebbed in the United States, a new production of Pina Bausch’s The Rite of Spring (1975) appeared online. Performed on Senegal’s shoreline, Dancing at Dusk resituates Bausch’s choreography within the beach’s formative histories of racialized violence, colonialism, and white supremacy. In this context, the performance also prompts considerations of the relationships between the enduring histories of r…
Activating Whiteness
“Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance” explores how the choreographic turn to postmodernism twisted the trope of racial exclusion from a focus on trained bodies to a focus on ordinary bodies. Analyses of Yvonne Rainer's Trio A (1966) and Trisha Brown's Locus (1975) demonstrate how ordinary bodies shape racially exclusive spaces and activate the biopolitical mechanisms of normalization that their choreogra…
Fantasy on the Clock
Inside the brick and stone of San Francisco’s historic Old Mint, Collected Works’ site-specific production of Jean Genet’s The Balcony mobilizes the play’s ambiguous temporality to underscore the role of financialization within multiple historical moments. Within the slippage between a past, present, and virtual charged with desires for power and capital, the spectator, too, becomes complicit in the consumption and construction of capital
Activating Whiteness
“Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance” explores how the choreographic turn to postmodernism twisted the trope of racial exclusion from a focus on trained bodies to a focus on ordinary bodies. Analyses of Yvonne Rainer's Trio A (1966) and Trisha Brown's Locus (1975) demonstrate how ordinary bodies shape racially exclusive spaces and activate the biopolitical mechanisms of normalization that their choreogra…
Fantasy on the Clock
Inside the brick and stone of San Francisco’s historic Old Mint, Collected Works’ site-specific production of Jean Genet’s The Balcony mobilizes the play’s ambiguous temporality to underscore the role of financialization within multiple historical moments. Within the slippage between a past, present, and virtual charged with desires for power and capital, the spectator, too, becomes complicit in the consumption and construction of capital
Activating Whiteness
“Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance” explores how the choreographic turn to postmodernism twisted the trope of racial exclusion from a focus on trained bodies to a focus on ordinary bodies. Analyses of Yvonne Rainer's Trio A (1966) and Trisha Brown's Locus (1975) demonstrate how ordinary bodies shape racially exclusive spaces and activate the biopolitical mechanisms of normalization that their choreogra…
Economies of Reperformance
As the very first wave of the Covid-19 pandemic ebbed in the United States, a new production of Pina Bausch’s The Rite of Spring (1975) appeared online. Performed on Senegal’s shoreline, Dancing at Dusk resituates Bausch’s choreography within the beach’s formative histories of racialized violence, colonialism, and white supremacy. In this context, the performance also prompts considerations of the relationships between the enduring histories of r…
Unruly Choreographies and the Contradictions of Safety
It is May, 2024. Right now, in the face of horrific violence, I feel overwhelmed and useless. It feels selfish to even wonder, at such a time, what my role is, or could be, in all of this. What dif
Circumspect Moves
This essay applies what I term a "circumspect methodology" to Bebe Miller's digital archives to ask how archives craft futures for dance that are not oriented toward reperformance and reenactment. I argue that Miller's archives are not bound to repetition, even while they sustain a relationship with neoliberal capitalism through their use of the digital. By attending to the peripheries of virtual artistic spaces, the ways that race both structure…
Art (5 works) · Sociology (4 works) · Cinema and Media Studies (3 works) · Diversity and Impact of Dance (3 works) · Aesthetics (2 works) · Art history (2 works) · Choreography (2 works) · Dance (2 works) · Gender Studies (2 works) · History (2 works)