Maguy Marin's Posthuman Cinderella
Thingness, Grotesquerie, and Cyborgs
Bibliographic Data
| ID | 11210555 |
|---|---|
| Authors | Mara Mandradjieff (0000-0002-2132-160X, corresponding author) |
| Year | 2017 |
| Volume | 40 |
| Issue | 3 |
| Pages | 374-392 |
| Publication date | 2017-09-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Dance Chronicle (JOURNAL) |
| Journal identifiers | ISSN: 0147-2526 • E-ISSN: 1532-4257 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/01472526.2017.1369299 |
| OpenAlex | W2767640913 |
| Language | EN |
| Citations received | 2 |
Grotesque masks replace powdered noses, blushed cheekbones, and false eyelashes. Padded suits expand thin body lines. The doll costumes in Maguy Marin's Cinderella push the boundaries of late twentieth-century, Western ballet aesthetics. Simultaneously, they raise questions about the ballet dancer's role as subject and object onstage. In this essay, I use choreographic analysis to explore how Marin's characters, movement, and costumes expose and challenge multiple layers of dancer objectification. Situating the choreographer's tactics within a feminist framework, I argue that Marin's radical strategy centers on posthuman philosophy, paradoxically suggesting that a ballerina, through her thingness and cyborgian relations, can function outside of object-subject constraints
Aesthetics · Art · Art history · Ballet · Clothing · Dance · Epistemology · Object (grammar) · Objectification · Posthuman · Spectacle · Subject (documents) · Visual arts · Computer Science · Cultural History and Identity Formation · Diversity and Impact of Dance · Folklore, Mythology, and Literature Studies · History · Philosophy
| Citations per year | 0.4 |
|---|---|
| Citation span | 2021 - 2024 (4) |
| Highly cited | No |