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André Lepecki surveys a decade of experimental choreography to uncover the dual meaning of 'performance' in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five 'singularities' in contemporary dance: thingness, animality, persistence, darkness, and solidity. Exploring the works of Mette Ingvartsen, Yvonne Rainer, Ralph Lemon, Jérôme Bel and others, Lepecki uses his concept of 'singularity'--the resistance of categorization and aesthetic identification--to examine the function of dance and performance in political and artistic debate.

performance art --- dances [performance events] --- Theatrical science --- choreography --- Ingvartsen, Mette --- Rainer, Yvonne --- Lemon, Ralph --- Bel, Jérôme --- Movement (Philosophy). --- Performance art.

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Yvonne Rainer's The Mind is a Muscle (1968) stripped away the gestural conventions of dance or theatre narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam and an expanded notion of artistic practice, Yvonne Rainer presented her evening-length work, The Mind is a Muscle, a multipart performance for seven dancers interspersed with film and text. Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation and analyses her radical approach to image-making in live form. For Wood, The Mind is a Muscle proposed a new model of artwork that presents a dynamic tension between materiality and idea. It made manifest an agitated and contradictory relationship to the idea of 'work' in the context of affluent America, and stripped away the gestural conventions of dance or theatre narrative in an attempt to formulate new kinds of 'social scripts' while manipulating the seductiveness of the image, increasingly harnessed by capitalism

Women dancers --- Women choreographers --- Modern dance. --- Experimental films. --- Dance. --- Danseuses --- Femmes chorégraphes --- Danse moderne --- Films expérimentaux --- Danse --- Biography --- Biographies --- Rainer, Yvonne, --- Rainer, Yvonne --- kunst --- autobiografie --- Verenigde Staten --- choreografie --- dans --- film --- experimentele film --- minimalisme --- minimal art --- twintigste eeuw --- Rainer Yvonne --- 7.071 RAINER --- Femmes chorégraphes --- Films expérimentaux --- Dance --- Experimental films --- Modern dance --- Dancers --- Choreographers --- Interpretive dancing --- Modern dancing --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- États-Unis

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Experimental films. --- Sociology of culture --- Sociology of the family. Sociology of sexuality --- Film --- Theatrical science --- Art --- Rainer, Yvonne --- United States --- United States of America --- Feminist art --- Movies --- LGBTQIA culture --- Homosexuality --- Film directors --- Book --- Dancing

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Judson Dance Theater in Hindsight -- ##Sections and chunks: serial time -- ##Mediating Trio A -- ##Other solutions -- ##Performance demonstration -- ##Conclusion: Taking sides.

Rainer, Yvonne --- Art --- Art, American --- Choreographers --- Dancers --- Experimental films. --- Independent filmmakers --- Minimal art --- Modern dance. --- Political aspects --- History --- Rainer, Yvonne, --- Criticism and interpretation. --- kunst --- autobiografie --- Verenigde Staten --- choreografie --- dans --- film --- experimentele film --- minimalisme --- minimal art --- twintigste eeuw --- Rainer Yvonne --- 7.071 RAINER --- Experimental films --- Modern dance --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Interpretive dancing --- Modern dancing --- Dance --- Art, Minimal --- Minimalism (Art) --- Minimalist art --- Systematic painting --- Art, Abstract --- Art, Modern --- Independent moviemakers --- Motion picture producers and directors --- Chicago Imagists (Group of artists) --- Figuration libre (Group of artists) --- Fort Worth Circle (Group of artists) --- Hairy Who (Group of artists) --- Monster Roster (Group of artists) --- Philadelphia Ten (Group of artists) --- Pictures Generation (Group of artists) --- Film d'artiste --- Chorégraphie --- Danse --- Art minimal --- Cinéma indépendant --- Avant-garde --- Performance --- Cinéma --- Cinéma, histoire --- Vidéo --- USA --- États-Unis --- Art, Primitive

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Edited by Jean Petrolle & Virginia Wright Wexman --- film --- experimentele film --- film en feminisme --- gender studies --- avant-garde --- Thornton Leslie --- Friedrich Sue --- Child Abigail --- Akerman Chantal --- Dulac Germaine --- Deren Maya --- Rainer Yvonne --- Abramovic Marina --- Menkes Nina --- Portillo Lourdes --- Tajiri Rea --- Dunye Cheryl --- Potter Sally --- Faye Safi --- Minh-ha Trinh T. --- Hubley Faith --- Leaf Caroline --- Menken Marie --- Schneemann Carolee --- Keller Marjorie --- Robertson Anne Charlotte --- Lowder Rose --- 791.43 --- Experimental films --- Women motion picture producers and directors --- History and criticism. --- Minh-ha Trinh T --- Women moving-picture producers and directors --- Motion picture producers and directors --- Women in the motion picture industry --- History and criticism