Discipline des corps féminins dans A Chorus Line (1975)
After it first came to Broadway in 1975, A Chorus Line became a cultural phenomenon, whose success spanned fifteen years, and one of the most common examples of the then-recent subgenre of the concept musical that emerged towards the end of the 1960s. Michael Bennett’s choreography and direction mov...
保存先:
| 第一著者: | |
|---|---|
| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2020
|
| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
cairn-RFEA_165_0056 |
|---|---|
| record_format |
cairn |
| spelling |
cairn-RFEA_165_0056RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2020-4-page-56?lang=fr https://doi.org/10.3917/rfea.165.0056 Discipline des corps féminins dans A Chorus Line (1975) Bottero, Anouk2020 A Chorus LineBroadwaycomédie musicale américainedansefemmes et théâtregenre et théâtremusicale américaineperformance fémininefre Revue française d’études américaines | 165 | 4 | 2020-11-04 | p. 56-69 | 0397-7870 RFEA_16539 After it first came to Broadway in 1975, A Chorus Line became a cultural phenomenon, whose success spanned fifteen years, and one of the most common examples of the then-recent subgenre of the concept musical that emerged towards the end of the 1960s. Michael Bennett’s choreography and direction moved A Chorus Line away from the classical integrated form, all the while maintaining the codes of the “backstage musical.” A Chorus Line stages the disciplinary processes and regulatory norms to which the dancers are submitted throughout the audition process. Distinguishing between female and male bodies might seem contradictory with the musical’s project, since the main goal of A Chorus Line’s narrative thread is to recruit a chorus that will perform as a unified ensemble, in which male and female dancers ultimately dissolve. However, the musical performs a certain number of disciplinary practices specific to female bodies: only female characters express a sense of inadaptation to the act of performing. The disciplinary process performed on the bodies often punishes the nonconform body, whereas the musical seems to celebrate the female body that resists essentialization and asserts its individuality. A Chorus Line’s twofold project, which both unleashes the dancers’ individualities and rigorously follows the discipline necessary to a chorus, offers a critical perspective on spectacle–but only to a certain extent: as much as it shows us the artificial nature of any performance, the play seems to produce an ideal “body-spectacle” that transcends gender norms but conforms to the normative process of spectacle.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| topic |
A Chorus Line Broadway comédie musicale américaine danse femmes et théâtre genre et théâtre musicale américaine performance féminine |
| spellingShingle |
A Chorus Line Broadway comédie musicale américaine danse femmes et théâtre genre et théâtre musicale américaine performance féminine Bottero, Anouk Discipline des corps féminins dans A Chorus Line (1975) |
| topic_facet |
A Chorus Line Broadway comédie musicale américaine danse femmes et théâtre genre et théâtre musicale américaine performance féminine |
| description |
After it first came to Broadway in 1975, A Chorus Line became a cultural phenomenon, whose success spanned fifteen years, and one of the most common examples of the then-recent subgenre of the concept musical that emerged towards the end of the 1960s. Michael Bennett’s choreography and direction moved A Chorus Line away from the classical integrated form, all the while maintaining the codes of the “backstage musical.” A Chorus Line stages the disciplinary processes and regulatory norms to which the dancers are submitted throughout the audition process. Distinguishing between female and male bodies might seem contradictory with the musical’s project, since the main goal of A Chorus Line’s narrative thread is to recruit a chorus that will perform as a unified ensemble, in which male and female dancers ultimately dissolve. However, the musical performs a certain number of disciplinary practices specific to female bodies: only female characters express a sense of inadaptation to the act of performing. The disciplinary process performed on the bodies often punishes the nonconform body, whereas the musical seems to celebrate the female body that resists essentialization and asserts its individuality. A Chorus Line’s twofold project, which both unleashes the dancers’ individualities and rigorously follows the discipline necessary to a chorus, offers a critical perspective on spectacle–but only to a certain extent: as much as it shows us the artificial nature of any performance, the play seems to produce an ideal “body-spectacle” that transcends gender norms but conforms to the normative process of spectacle. |
| author |
Bottero, Anouk |
| author_facet |
Bottero, Anouk |
| author_sort |
Bottero, Anouk |
| title |
Discipline des corps féminins dans A Chorus Line (1975) |
| title_short |
Discipline des corps féminins dans A Chorus Line (1975) |
| title_full |
Discipline des corps féminins dans A Chorus Line (1975) |
| title_fullStr |
Discipline des corps féminins dans A Chorus Line (1975) |
| title_full_unstemmed |
Discipline des corps féminins dans A Chorus Line (1975) |
| title_sort |
discipline des corps féminins dans a chorus line (1975) |
| publishDate |
2020 |
| container_title |
|
| container_issue |
|
| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2020-4-page-56?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.165.0056 |
| _version_ |
1877246551999381504 |