Premiered in 1995 by the Netherlands Dans Theater, Jiří Kylián’s work Bella Figura investigates the complexity of the human body and the poetry of movement through stylized choreography. The original cast features nine dancers accompanied by a haunting Baroque score from G.B. Pergolesi, Alessandro Marcello, Antonia Vivaldi, and Guiseppe Torelli with neo-Baroque contributions from Lukas Foss. Androgynous costuming by Joke Visser is complemented by nudity from the waist up for the female and male dancers. Ultimately, Bella Figura serves as a culmination of influences from Kylián’s upbringing in communist Czechoslovakia as well as the pervasive gender inequalities of the 1990’s.
Born in 1947 in Prague, Kylián spent his formative years behind the “Iron Curtain” of communism. One year after he was born, the Soviets invaded Czechoslavakia and installed a communist government, which tore the country apart by spreading censorship, poverty, and violence. After various revolts, a new communist leader, Alexander Dubcek, came to power and began to loosen the cruel hegemony that existed under the Soviet Union (“Researching: Falling Angels,” 2007). Dubcek initiated the so-called “Prague Spring” by aiming to spread a more humane version of communism. However, the burgeoning era of hope did not last long. On August 21st, 1968 Soviet tanks stampeded Prague, overthrowing Dubcek, and thereby taking control of the city (Wagner, 2008, pg 1). The communist regime, with its stifling conformity and lack of personal freedom tainted Kylián’s upbringing. As Kylián describes, "The only colors I remember from my youth are grey, brown, and black. And I don't just mean visual colors; they were also the colors of my feelings. The bleak uniformity imposed upon us...
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...on and inherent likeness. The typecasts of gender are successfully erased—men can be feminine, and women can be masculine. The dancers become asexual bodies on stage, celebrated for their complexities and beauty regardless of gender. Developed in the context of an era in which gender equality was struggling to be realized, Bella Figura constructs its own version of gender equality through the homogenous application of nudity.
Bella Figura, heavily influenced by Kylián’s rearing in communist Czechoslovakia and the omnipresent gender inequalities of the 1990’s, exists as an expansive enigma that explores the intricacies of the modern body by erasing the division of gender. The work never quite resolves itself, instead electing to leave the work ambiguous and porous in resolution so that the audience may decide for themselves how to construe the paradoxes it presents.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
In this dissertation, ideological systems considered to limit the creation of Western female identity were explored through feminist discourse: Angela Carter’s The Passion of New Eve (1977) and Kathy Acker’s Don Quixote (1986). The former discussed the extent to which gendered identities are founded on biological difference and binary structures, looking at how these dichotomies work to confine female identity to a concept of fixed ideals. With reference to the work of Butler, Carter undermines essentialist views which limit identity, demonstrating through multifaceted and changeable characters that identity is constructed as opposed to determined. By engaging in multiple discourses, Carter’s characters reject conforming to regulatory norms, and are consequently revealed to be living out simulacrums, as Butler suggests all people do. The motif of the mirror was explored with reference to the work of Lacan and Mulvey, looking at how the novel presents female identity as contingent upon male desires due to society’s preoccupation with the phallus. Female identity is therefore constructed to appease masculine appetites, with the mirror revealing the discord between unified appearance and incoherent inner identity. The lack of female representation was discussed with reference to speech and narrative structure, with patriarchal systems of communication shown to exclude women from representation. Carter uses the dual perspective of Eve(lyn)’s narration to destabilize gender identity, revealing it as cleft and uncertain. Lee suggests that the incongruity of the narration also works to mount a critique of the role of the gaze, with the fact that Eve(lyn) narrates in retrospect hindering the reader’s ability to know whether the narrator ...
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
A pretty, perfect ballerina with a pink tutu, twirling with her arms above her head; ladylike hair with a Barbie-like face—these are the stereotypical images of dancers that come to most people’s minds. The real image is a sweaty dancer with ripped shoes, broken toes, blood coming out of her tights, and that’s really what dance is. People don’t see this, because dancers are so highly trained to mask this intensity, to make everything appear absolutely effortless. (Berkey)
Schapiro’s work has evolved and adapted based upon the issues, however her core values of feminism and female representation in art history has not altered. Shapiro takes a much more subtle view of feminism in much of her early work she paints to deliberately blur the lines of the perceived genders. Schapiro used bold colors and shapes just as Woolf used veiled metaphors and symbols to convey the idea of the feminine and the need for equality. In works like “Keyhole” (1971), it is deliberately ambiguous in terms of gendered art as the colors (pinks and blues) as well as the shape itself could lend itself to the feminine or masculine, relating back to the idea that ‘locked in’ to a particular gender is a societal confine and doesn’t actually exist. Woolf recognized this as she wrote, “I thought of how unpleasant it is to be locked out; and I thought how it is worse perhaps to be locked in.” She is able to deftly describe the idea of men who were locked in to particular activities and ideologies and lacked freedom alongside the women that were locked into their particular social constraints. Woolf points out that most of humanity is either locked in or locked out of equality. Feminism was the solution to the issue as femininism freeing for the sexes; it allows for each sex to explore aspects of the other and, for those who so desire, to float in-between set ‘rules’. Miriam Schapiro’s artwork is the visual representation of floating between the perceived genders. She, like Chicago and the rest of the ‘educated’ female artists, were trained by men to create artwork like a man, but with Womanhouse and subsequent works, Schapiro was able to reject the notion to ‘make art like a man’ and was made artwork that was wholly her own, enabling her to have a room of her own. With her painting
The female body is the site of extensive theoretical discourse and intense political struggle; it has become the expressions of culture but also has become a site for social and political control. Through history the female body has been the site of discrimination, exploitation, abuse and oppression. She has also occupied a dominant position in the discourse of beauty; its imagery being pervasive and manipulated throughout literature, visual arts and religions and also the site of scientific and psychological investigation. Through historically male dominated fields of expertise and political power, the female body has become the subject to conscious and unconscious patriarchal influences.
Through the society imaginations of genders, the society character can be depicted and captured in this imagery. This virtual representation, the study of an enduring public attitude deceptive in the widespread images of a gender and the ways of representing gender, has proved a productive and enlightening field of research. The stylistic dynamics at work in the genesis and propagating of gender images in the linguistic discourses, and their explicit function, and how they are received is a crucial source in forming a base for the female status in any society. Simone De Beauvoir (2011) addresses the ambiguous imagined femininity by saying “to be considered [as women] she must share in that mysterious and threatened reality known as femininity”. Such ‘mysterious and threatened reality’ is indeed independent of facts as this paper shall revel, and they neither mirror the female reality nor provide a truthful reflection of the female, but purely part of the cultural imagination.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
On May 29, 1913 when Diaghilev’s masterpiece debuted at the Theatre des Champs-Elysees, the response of the audience was overwhelming in their shock at the erotic and unconventional nature of the dance. What made this performance different then what anyone in Western Europe had ever seen before was its jarring and sexual nature. Rather than the music and choreography be one, flowing, coherent unit, it was instead rather choppy and dissonant which most likely caught the naive audience off guard. The nature of this ballet is described many times t...
2017). The female gaze is used as an attempt to subvert the image of the man being “the bearer of the look” and the “woman as the image” (Mulvey, 1975: 19). Yes, in that specific scene, the belly dancer was the “image” to be looked as we would expect from traditional cinema, however, she was not sexualized in the way a masculine point of view would present her (Mulvey, 1975: 20). What this does is that it feminizes both the spectators and the camera’s point of view from the very beginning, indicating a sign that we will be introduced to events and relationships from a female perspective that would otherwise be unknown to us in the male dominated world of Bent Familia (Mulvey, 1975: 25). This scene is also very important because it tells the
Since 1989, when the Berlin Wall fell and Eastern European Communism came to an end, many of those who have lived through or bore witness to communism published their experiences to the public through media. These personal accounts tell, for the most part, of repressive and manipulative governments that constantly abused their power. Since the original goal for communism was equality, the East German government clearly corrupted the hopes that Karl Marx and Friedrich Engels had for the future of the Eastern European government and society.
In Foucault, Femininity, and the Modernization of Patriarchal Power by Sandra Bartky, the writer examines the disciplinary practices which produces a body that gesture and appearance is feminine. Bartky challenges the social construction of femininity by revealing how feminine serves the interest of domination. She talks about apparatus of discipline, the disciplinarians that discipline. According to her, it is a system of micro power that is essentially non-egalitarian and asymmetrical. Taking into consideration one of the concepts of her analysis, feminine bodily discipline is something imposed on subjects and at the same time something that can be sought voluntarily. I will base my analysis on these dual characters and I will demonstrate that the production of femininity is more like something imposed
To conclude, the use of body for Feminist and Performance artists in the 1960s-1970s was significant in confronting the way women were viewed as artists in a male dominated art world. It was a vital element in raising consciousness and showing action towards the ideas of feminism. (Holt.J, 2009) Feminine nudity was a controversial problem, which female artists wanted to provoke in order to gain equality. The body became a form of expression to transform social stereotypes, and used as a primary medium, which reasserted aspects of a women’s figure that had been traditionally ignored or repressed by the male majority. (Holt.J, 2009) The body had just become one platform used by feminism and performance artists such as, Cindy Sherman, Carolee Schneemann and Hannah Wilke to rebel and promote their ideas, in order to gain equal rights.
In particular, contemporary dance history dwells on the element if codes of seduction denunciation. The dance’s choreography explores various internal struggles experienced by humanity. These are the relationship between two forms that is almost always marked with violence, power and fear. In addition, the relations existing between two forms where a third creatures present is viewed in the dance, where the third form is portrayed as human. This is a rationality that presents the manner in which Bausch denounce the common codes of seduction by coming up with inter-relationally where fear is also a factor. However, the dancers overcomes their fear as the enormous rock in the stage suggests a shoreline, yet they climb over the rock in a dangerous manner of dancing. The melancholic choreography addresses the relationship between the male and female genders. The use of female dancers brings out the pain
The role of women has changed significantly throughout history, driven by women who took risks in setting examples for others to follow. Henrik Isben, author of A Doll's House, said “ A woman cannot be herself in society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view” (Innes 147). This proves that Isben was aware of male dominance in society during that time period. In his drama, “A Doll's House,” it deals with gender favoritism and male dominance.