Although Michel Foucault never wrote of dance as an example of a bodily discipline in the classical age, he did affect the art of contemporary ballet through his influence on the work of William Forsythe. This article interprets Foucault’s influence on Forsythe up until the early 1990s and also examines how Forsythe’s choreography ‘responded’ to issues of agency, inscription and discipline that characterize Foucault’s thought on corporeality. Ultimately, it asks whether Forsythe’s use of Foucauldian theory leads to a reinterpretation of inscription in Foucault.
ButlerJ. (1989) ‘Foucault and the Paradox of Bodily Inscriptions', Journal of Philosophy86(11): 601–7.
2.
DreyfusH. L.RabinowP. (1982) Michel Foucault: Beyond Structuralism and Hermeneutics. Chicago, IL: University of Chicago Press.
3.
ForsytheW. (1999) ‘Observing Motion: an Interview with William Forsythe’, in William Forsythe Improvisation Technologies: A Tool for the Analytical Dance Eye. Cologne: ZKM, pp. 16–27.
4.
ForsytheW.KaiserP. (1999) ‘Dance Geometry: William Forsythe in Dialogue with Paul Kaiser’, Performance Research4(2): 64–71.
5.
FoucaultM. (1972) The Archaeology of Knowledge & The Discourse on Language, trans. SmithSheridan A. M.New York: Pantheon.
6.
FoucaultM. (1973) The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books.
7.
FoucaultM. (1979a) Discipline and Punish: The Birth of the Prison, trans. SheridanA. New York: Vintage Books.
8.
FoucaultM. (1979b) The History of Sexuality, vol. 2, The Use of Pleasure, trans. HurleyR.New York: Vintage Books.
9.
FoucaultM. (1986) ‘Of Other Spaces', Diacritics16(1): 22–7.
10.
FoucaultM. (1998) ‘Speaking and seeing in Raymond Roussel’, in Aesthetics, Method, and Epistemology, ed. FaubionJ. D., trans. HurleyR.. New York: New Press, pp. 21–52.
11.
FoucaultM. (2009) Les corps utopiques suivi de Les Hétérotopies[The Utopic Body followed by Heterotopias]. Paris: Nouvelles Editions Lignes.
12.
FrankoM. (1993) Dance as Text: Ideologies of the Baroque Body. Cambridge: CambridgeUniversity Press.
13.
FrankoM. (2000) Acting on the Past: Performance Across the Disciplines, ed. FrankoM.RichardsA.Middletown, CT: Wesleyan University Press.
14.
FrankoM. (2010) ‘Body-Language and Language-Body in William Forsythe’s Artifact: Michel Foucault and Louis Marin on the Baroque Body’, Ars Aeterna2(1): 84–101.
15.
FrankoM. (2011a) ‘Splintered Encounters: the Critical Reception to William Forsythe in the United States: 1979–1989’, in. SpierS.William Forsythe and the Practice of Choreography: It Begins from any Point. London: Routledge, pp. 38–50.
16.
FrankoM. (2011b) ‘Writing for the Body: Notation, Reconstruction and Reinvention in Dance’, Common Knowledge17(2): 321–34.
17.
HammondS. Noll (2007) ‘The Rise of Ballet Technique and Training: the Professionalization of an Art Form’, in KantM. (ed.) The Cambridge Companion to Ballet. Cambridge: CambridgeUniversity Press, pp. 65–77.
18.
JohnsonP. (2006) ‘Unravelling Foucault’s “Different Spaces”’, History of the Human Sciences19(4): 75–90.
19.
LemertC. C.GillanG. (1982) Michel Foucault. Social Theory and Transgression. New York: ColumbiaUniversity Press.
20.
McLarenM. L. (2002) Feminism, Foucault, and Embodied Subjectivity. Albany: StateUniversity of New York Press.
21.
Merleau-PontyM. (1964) L’oeil et l’esprit [The Eye and the Mind]. Paris: Gallimard.
22.
MorrisonK. F. (1983) ‘Incentives for studying the Liberal Arts', in WagnerD. L. (ed.) The Seven Liberal Arts in the Middle Ages. Bloomington: IndianaUniversity Press, pp. 46–9.
23.
NessS. A. (2008) ‘The Inscription of Gesture: Inward Migrations of Dance’, in NolandC.NessS. A. (eds) Migrations of Gesture. Minneapolis and London: University of Minnesota Press.
24.
NessS. A. (2011) ‘Following Foucault’s Turn from Phenomenology: Implications for Dance Studies', Dance Research Journal43(2) (Winter).
25.
NolandC. (2009) Agency and Embodiment: Performing Gestures/Producing Cultures. Cambridge, MA: Harvard University Press.
26.
RothM. S. (1992) ‘Foucault on Discourse and History: a Style of Delegitimation’, in SillsC.JensenG. H. (eds) The Philosophy of Discourse, vol. 2Portsmouth, NH: Boynton/Cook, pp. 102–24.
27.
SiegmundG. (2004) ‘William Forsythe: Räume eröffnen, in denen das Denken sich ereignen kann’, in SiegmundG. (ed.) William Forsythe: Denken in Bewegung. Berlin: Henschel, pp. 9–80.
28.
SoussloffC. (2009) ‘Michel Foucault and the Point of Painting’, Art History32(4): 734–54.
29.
SpierS. (1998) ‘Engendering and composing Movement: William Forsythe and the Ballet Frankfurt’, Journal of Architecture3 (Spring): 135–46.
30.
SulcasR. (1995) ‘Kinetic Isometries: William Forsythe on his “Continuous Rethinking of the Ways in which Movement can be engendered and composed”’, Dance International (Summer): 4–9.
31.
VigarelloG. (1978) Le corps redressé. Histoire d'un pouvoir pédagogique[The Vertically Trained Body: History of a Pedagogical Power]. Paris: Delarge.
