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Suspending Conventions : how 'disabled aerialists' are challenging aesthetic and methodological practices in 21st Century aerial(ism)
    Auteurs : Carter, Katrina [Auteur]
    Éditeur : Royal Holloway University London
    Date de publication : 2014
    Langue : Anglais
    Description : 271 p. : ill. n & b ; 28 cm.
    Notes : Bibliogr. : p. 225-264.
    Sujets:
    Acrobatie aérienne - Philosophie et théorie
    Artistes de cirque handicapés



    Résumé:
    Aerial(ism) is the art of suspended movement, generated by aerialists working with equipment such as trapezes, ropes and harnesses. It is frequently but not exclusively associated with the circus and throughout its history has been dominated by non-disabled performers. Increasing numbers of disabled artists are however, now engaging with aerial.
    This thesis therefore examines how 'disabled aerialists' are challenging aesthetic and methodological aerial practices in the twenty-first century.

    As a professional aerialist working extensively with disabled performers, the research draws on my practice and direct correspondence with other disabled and non-disabled practitioners. It features two case studies in which I was aerial choreographer and trainer : Hang-ups!, a short film featuring Sophie Partridge who performs in a fabric cocoon and the Paralympic Opening Ceremony of London 2012 which included more than twenty 'disabled aerialists' using diverse aerial equipment. Historical and cultural perspectives of aerial are drawn from the few academic experts in the field, notably Paul Bouissac, Steve Gossard and Peta Tait; disability perspectives are guided by a wealth of theorists including Erving Goffman, P. David Howe, Tom Shakespeare and Rosemarie Garland Thomson.

    The research shows how aerial has been connected to disability and/or impairment throughout its history. It provides evidence that 'disabled aerialists' existed in the past but have been forgotten, despite at least one unipedal aerialist contributing significantly to what Tait calls the 'living history' of the form. It demonstrates how twenty-first century 'disabled aerialists' offer significant opportunities to alter the form's increasing aesthetic of conformity, but that challenges continue to exist in both how this can be done, and how the work might be understood. [author summary]

    Dépouillement du document :
    Introduction
    Conventions of Suspension: on Remembering and Forgetting
    Conjoined Histories of the 'Disabled Aerialist'
    Disability: Language and Theory
    The Social Circus: Appropriate Participation
    Research Methodologies

    1: The Physical Fundamentals of Aerial
    Aerial Lineage in the UK
    Canonical Equipment and Movement Vocabularies
    Exploring the 'Kinetic Museum'

    2: The Conventional Aerial Aesthetics
    Muscular Athleticism
    The Myth of Defying Gravity
    The Reality of Risk
    The Superhumans or Social Misfits
    Pain-free Performances of Control
    Reactions to Aerial

    3: Re-Situating the 'Disabled Aerialist'
    Permission to Look
    Disability Arts & Culture
    The Circus of Isolation
    Heterogeneous 'Disabled Aerialists'
    Chapter 4: Hang-Ups! or Here's to the No-Can-Dos
    Hang-ups! The Movie
    Here's to the Aerial No-Can-Dos
    The Minimisation of Movement
    The Professional Assistant
    Participation and/or Excellence
    Performance Texts
    Risky Performance

    5: The Paralympic Ceremonies
    The Paralympic Movement
    The Paralympic Aerial Training Programme
    Enlightenment and the 'Aesthetics of Access'
    The Paralympic Closing Ceremony (PCC)

    Conclusions

    Collection / Fonds : BIbliothèque de l'École nationale de cirque
    Localisation : Bibliothèque
    Cote : 791.340 87 C3231s 2014

    Type de publication : Publication scientifique

    Disponibilité : Accessible en ligne

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