Table of Contents

Introduction Part 1: Approaching Reworkings of the Ballet in Theory and Practice 1. Reworking the Ballet: (En)countering the Canon 1.1 Reworking the Ballet 1.2 Defining the Terms of the Discourse 1.3 Reviewing Five Giselles 1.4 Counter Discourses and the Canon 1.5 Reconsidering the Past: Reworkings as Postmodern Historiography 1.6 Reworkings as Intertextual Practices 1.7 Towards a Definition of Reworkings 2. Canonical Crossings: Narratives and Forms Revisioned 2.1 Strategies of Dissonance: Moments of Sameness 2.2 Inverting Bodies: Reformulating the Dance Vocabulary 2.3 Re-Telling Tales: New Contexts, New Narratives 2.4 Gender Bending: Cross-Casting and Cross-Dressing 2.5 Feathered Pantaloons and Homoeroticism 2.6 Hyperbole and Eccentricity 2.7 The Heterosexual Matrix and Beyond 2.8 Strategies of Dispersal: Intertextuality and the Carnivalesque Part 2: Re-Figuring the Body and the Politics of Identity 3. Female Bodies and the Erotic: Performativity, Becoming and the Phallus 3.1 Encounters Between Reworkings and Feminism 3.2 Lac de Signes (1983) and The Ballerina’s Phallic Pointe (1994) by Susan Leigh Foster 3.3 Looking-at-to-be-Looked-at-Ness: Performance and Spectacle 3.4 Trans-Contextualizing Bodies: Postmodern Parody and Hybridity 3.5 Parodic Comedy and the Performativity of Gender 3.6 The Phallus, the Penis, the Dildo and the Ballerina 3.7 O (a Set of Footnotes to Swan Lake) (2002) by Vida L Midgelow 3.8 Open Texts – Enacting Becomings 3.9 Hybrid Body – Plural Bodies – My Body 3.10 Breaking the Gaze – Inscribing a Haptic Presence 3.11 Eroticism and the Politics of Touch 4. Princely Revisions: Stillness, Excess and Queerness 4.1 Masculinities, the Male Dancer and Reworkings 4.2 The Hypochondriac Bird (1998) by Javier de Frutos 4.3 Swan Lake, 4 Acts (2005) by Raimund Hoghe 4.4 In the Gaps and Absences 4.5 Excess: De Frutos and Homoeroticism 4.6 Stillness and (Dis)ability: Hoghe and the Ontology of Dance 4.7 (Auto)corpography and (Beyond) Queer Theory 5. Intercultural Encounters: Flesh, Hybridity and the Exotic 5.1 Reworkings as Intercultural Discourse 5.2 Shakti and Swan Lake (1998) 5.3 Masaki Iwana and The Legend of Giselle (Jizeru-den) (1994) 5.4 Cultural (Ex)change and Hybridity 5.5 Orientalism and the Exotic 5.6 Enter the Silver Swan: Excess and the Erotic 5.7 Fleshly Metamorphosis and Becomings in Butoh 5.8 Commodification, Appropriation and the Global Market 6. Conclusion: Transgressive Desires 6.1 Reworkings as Canonical Counter-Discourse 6.2 The Double Gesture: Beyond the Binary of Otherness 6.3 Diversity and Difference: (Re)inscribing the Body 6.4 Pleasure and Power: The (Re)eroticised Body