By A. McGrath

ISBN-10: 113703548X

ISBN-13: 9781137035486

ISBN-10: 1349442275

ISBN-13: 9781349442270

Dance theatre has turn into a domain of transformation within the Irish functionality panorama. This publication conducts a socio-political and cultural interpreting of dance theatre perform in eire from Yeats' dance performs at the beginning of the twentieth century to Celtic-Tiger-era works of brilliant Beast Dance Theatre and CoisCéim Dance Theatre firstly of the twenty first.

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Additional info for Dance Theatre in Ireland: Revolutionary Moves

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21 Yeats was struck by the potential that the structure of Noh plays, in his understanding of them, presented for the dramatic synthesis of music, poetry and dance and the possibility of an expression of images and ideas ‘beyond the limits’ of language. In his introductory essay, ‘Certain Noble Plays of Japan’, Yeats writes specifically about the dance in Noh: I have lately studied certain of these dances, with Japanese players, and I notice that their ideal of beauty [. ] makes them pause at moments of muscular tension.

The first section, comprising Chapters Two and Three, contextualises the work of current dance theatre choreographers in Ireland within both an historical and contemporary framework of national and international developments in dance theatre. Chapter Two considers the work of three major figures in the development of Irish dance theatre pre-1990: William Butler Yeats in his collaborations with Michio Ito and Ninette de Valois, Erina Brady and her Irish School of Dance Art, and Joan Davis and the Dublin Contemporary Dance Theatre.

134 In colonial Ireland, with its necessary emphasis on the literary to repel ‘alleged unreliability, emotional instability and mental disequilibrium’,135 an articulate body with a perceived threatening corporeal agency would seem to have been quashed and relegated to a state of ‘dead flesh’. At the same 32 Dance Theatre in Ireland time, it was of importance that the body ‘out there’ performing the national identity was not viewed as feminine, and if the body happened to be the one acceptable and sanctioned type of dancing body, that all sexual associations were nullified.

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Dance Theatre in Ireland: Revolutionary Moves by A. McGrath


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