Sujets :
Acrobatie aérienne - Philosophie et théorie
Études sur le genre
Représentation du corps circassien
Butler, Judith [philosophe]
Richards, Tanya Melissa [artiste de cirque]
Arts du cirque - Australie

Dépouillement du document :
Introduction

0.1 Aerial Acrobatics and Gender Identities

0.2 Mapping the Terrain – Contemporary Art, Gender and Aerial
Acrobatics
Gender in Contemporary Art
Aerial Acrobatics, video and gender exploration

0.3 Tackling Gender Performance

1 - Theoretical Framework: Performing Gender
1.1 Introduction
1.2 Aerial Acrobatics - How Aerial Acrobatics Inform my Research
1.3 What is performing Gender?
Judith Butler and Performing Gender
Performance and Performing Gender
Gender Performance and the Audience
Repeated and Rehearsed

1.4 Aerial bodies and the Construction of Gender in My Art Practice

1.5 Discipline and Agency - The subversion of the dominant script
Intention of the performer
A question of agency. Reworking the trap or individual (destroyed body) reasserting itself

1.6 The Use and Influence of Fairy Tales
Fairy Tales and Gender

2 - Gender Bending, Three Examples in Contemporary Art
2.1 Introduction
2.2 The Kingpins: Taking the piss out of the stereotype
2.3 Liam Benson: Gentle Subversions
2.4 Monika Tichacek: That love hate relationship with the feminine ideal
2.5 Conclusion

3 - Studio Practice
3.1 Introduction
3.2 Beginnings and Changes

3.3 Cloaked Caught or Carefree
You Throw Like a Girl
Escaping My Masculine Side
Conforming to a Divergence

3.4 Wrapped by Rehearsal
3.5 Gender and the Happily Ever After
Her Mother Craved Rampion
A Wolf, Eaten or Saved

4 - Conclusion
4.1 Examination Exhibition
4.2 Future Research

Bibliography

Appendix A : Little Red Riding Hood by Charles Perrault
Appendix B : Little Red Cap by Jacob and Wilhelm Grimm
Appendix C : The Grandmother
Appendix D : Excerpt from ‘The Company of Wolves’ by Angela Carter
Appendix E : Journal Entry
Appendix F : Rapunzel
Appendix G : DVD Information
Appendix H : Documentation of a corporate aerial performance
Appendix I : List of Works and Exhibitions

Résumé :
This studio-based research project explores ideas of gender performance through the digital manipulation of aerial acrobatics, resulting in a series of video works and installations. This paper explains the processes, artworks and conceptual developments of this project. Dubiously Wholesome’s focus on gender performance began as an interrogation of what it means to identify as female in contemporary society and how manifestations of gender are used to create an identity that interacts with the complexities of everyday life. An investigation into Judith Butler’s ideas of gender as a social performance instigated the project’s conceptual framework. This resulted in artworks that explore gender scripted from social repetition and then performed by the individual, whereupon the repetition works to validate gender signifiers and “instate” sex as naturalistic. The integration of aerial acrobatics into the project’s studio practice acted as both an aesthetic tool and a research methodology where my experience as a professional aerial performer informed my conceptual framework. The images created through this digital manipulation of aerial acrobatics were interspersed with fairytale imagery from Little Red Riding Hood and Rapunzel, drawing from the tales’ positions as social commentator and manipulator to subvert accepted views on gender roles. In my work, I used the idea of gender as performative and interpreted it, not through a text-based idea of script, but through an analogy of aerial performance. In this analogy, the red fabric I am suspended from came to represent the gender signifiers through which the body is bound by social constructions. The manipulation of the fabric around the body suggests the performativity of gender and that, like an aerial performance, gender is learned, rehearsed and performed. [author summary]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 791.340 1 R5141d 2010

• Ex. 1 — disponible