Ballet's Legacies: Beyond the Phallic Pointe
This thesis examines how an embodied aesthetic of classical ballet comes into being through modernities’ discourses and material realities of nation, state, colonialism, heterosexuality and their constitutive logics. Accordingly, ballet bodies are produced within a Marxist mode of production and circulate through a movement linguistic system that is phallologocentric. To consider how to move beyond such a system, an evaluation and expansion upon Susan Leigh Foster’s oft-cited work “The Ballerina’s Phallic Pointe” examines the holds modernities’ take over ballet bodies through their production and highlights potentialities for alternative futures. The thesis turns to autobiographical and biographical works of professional ballerinas to express the affected material realities of ballet’s mode of productions’ acts on material bodies.
URI for this recordhttp://hdl.handle.net/1974/26136
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