TY - BOOK ID - 5479881 TI - Yvonne Rainer : the mind is a muscle PY - 2007 SN - 9781846380389 1846380383 1846380375 9781846380372 PB - London Afterall Books DB - UniCat KW - Women dancers KW - Women choreographers KW - Modern dance. KW - Experimental films. KW - Dance. KW - Danseuses KW - Femmes chorégraphes KW - Danse moderne KW - Films expérimentaux KW - Danse KW - Biography KW - Biographies KW - Rainer, Yvonne, KW - Rainer, Yvonne KW - kunst KW - autobiografie KW - Verenigde Staten KW - choreografie KW - dans KW - film KW - experimentele film KW - minimalisme KW - minimal art KW - twintigste eeuw KW - Rainer Yvonne KW - 7.071 RAINER KW - Femmes chorégraphes KW - Films expérimentaux KW - Dance KW - Experimental films KW - Modern dance KW - Dancers KW - Choreographers KW - Interpretive dancing KW - Modern dancing KW - Avant-garde films KW - Experimental videos KW - Personal films KW - Underground films KW - Motion pictures KW - Video art KW - Dances KW - Dancing KW - Amusements KW - Performing arts KW - Balls (Parties) KW - Eurythmics KW - États-Unis UR - https://www.unicat.be/uniCat?func=search&query=sysid:5479881 AB - 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 ER -