Abstract
This essay analyses a number of performance art experiments by significant artists and choreographers, each deploying vocal innovations. The essay is based on extensive archival research in Japan and France.
The distinctive form of a final, last-gasp, last-breath monologue illuminates distinctive aspects of the final works of artists and choreographers. Such a monologue, which expires at around the same time that the body which expels it also expires, often constitutes a manifestation of a practitioner's work in its most intensive form, while intimating qualities of corporeal and linguistic disintegration and fragmentation, and offers insights that span dance and performance art.
| Original language | English |
|---|---|
| Pages (from-to) | 169-178 |
| Journal | New Theatre Quarterly |
| Volume | 33 |
| Issue number | 2 |
| Early online date | 12 Apr 2017 |
| DOIs | |
| Publication status | Published - 1 May 2017 |
Bibliographical note
Impact: This essay for a major performance arts journal analyses a number of performance art experiments by significant artists and choreographers, each deploying vocal innovations. The essay is based on extensive archival research in Japan and France.The distinctive form of a final, last-gasp, last-breath monologue illuminates distinctive aspects of the final works of artists and choreographers. Such a monologue, which expires at around the same time that the body which expels it also expires, often constitutes a manifestation of a practitioner's work in its most intensive form, while intimating qualities of corporeal and linguistic disintegration and fragmentation, and offers insights that span dance and performance art.
Keywords
- Art and design