Usha Iyer
- Published in print:
- 2020
- Published Online:
- October 2020
- ISBN:
- 9780190938734
- eISBN:
- 9780190938772
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190938734.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
Chapter 2 develops a body-space-movement framework that studies the spaces of dance, the movement vocabularies used, and the resulting construction of star bodies. This framework uncovers the ...
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Chapter 2 develops a body-space-movement framework that studies the spaces of dance, the movement vocabularies used, and the resulting construction of star bodies. This framework uncovers the production processes behind the fetishized space of the Hindi film cabaret, an “architecture of public intimacy,” whose spatial and choreographic operations arouse intense sensorial stimulation. Through a focus on cabaret numbers featuring the dancing star Helen, this chapter discusses the cine-choreographic practices that produce a collision of infrastructures, bodies, and spaces. The body-space-movement framework is also employed to analyze film dance in relation to Indian “classical” and “folk” dance forms. Borrowing from Indian performance treatises like the Natya Shastra and Abhinaya Darpana, this chapter deconstructs the dancing female body into three broad zones—the face, the torso, and the limbs—each of which is capable of a variety of addresses depending on the social connotations of those gestural articulations at certain historical moments.Less
Chapter 2 develops a body-space-movement framework that studies the spaces of dance, the movement vocabularies used, and the resulting construction of star bodies. This framework uncovers the production processes behind the fetishized space of the Hindi film cabaret, an “architecture of public intimacy,” whose spatial and choreographic operations arouse intense sensorial stimulation. Through a focus on cabaret numbers featuring the dancing star Helen, this chapter discusses the cine-choreographic practices that produce a collision of infrastructures, bodies, and spaces. The body-space-movement framework is also employed to analyze film dance in relation to Indian “classical” and “folk” dance forms. Borrowing from Indian performance treatises like the Natya Shastra and Abhinaya Darpana, this chapter deconstructs the dancing female body into three broad zones—the face, the torso, and the limbs—each of which is capable of a variety of addresses depending on the social connotations of those gestural articulations at certain historical moments.
