Performing embodiment in Samuel Beckett's drama

The representation and experience of embodiment is a central preoccupation of Samuel Beckett’s drama, one that he explored through diverse media. This monograph investigates the full range of Beckett’s dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. It examines how Beckett’s drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power.

From matron to matrix: gender, authority and (dis)embodiment in Beckett’s Theatre

An examination of Samuel Beckett's representation of women in a selection of his plays for stage and radio.

Performing performers: embodiment and intertextuality in the contemporary biopic

The actor’s body is of critical importance to the biopic’s representation of ‘real’ lives, to issues of physical and gestural resemblance, and in its role as the dramatic vehicle; acting out significant moments, embodying transformations. Through detailed examination of Beyond the Sea (2004), De-Lovely (2004), Molière (2007), films which foreground the construction, and constructedness, of life through performance and spectacle, this chapter explores the self-reflexive and intertexual embodiment of life stories. It focuses on the material details of performance in relation to distinctly contemporary strategies of film style and tone, and how these connect to questions of expectation and agency.

Bad habits and prosthetic performances : negotiation of individuality and embodiment of social status in Australian shark fishing

Anthropological discussion of individuality, as a component of masculinity, has tended to focus on either the performance and championing of autonomy in the West (e.g., Kapferer) or the manner in which people in non-Western contexts become explicitly manifest through relationships with others (e.g., Strathern). In this paper, I consider an atypical example of masculine identity by describing intimate interpersonal relationships between Australian commercial shark boat skippers and their young deckhands. As in other Western fisheries (e.g., Icelandic), economic success and physical safety are promoted through synergism among fishers. In the Australian case, however, the degree of corporeal cooperation is so extreme that deckhands resemble living prostheses of their skipper, embodying their peripheral socio-productive status. I consider this bond in the context of the Australian ethos of masculinity, in which displays of "individuality" are key. However, for young deckhands, their prosthetic role can compromise their passage into manhood.

Claiming the (n)either/(n)or of 'third space': (re)presenting hybrid identity and the embodiment of mixed race

As a multiracial artist, I am interested in how people of mixed race have been represented in popular culture and how mixed race image-makers can redress popular representation and facilitate a movement beyond the dichotomy, which seeks to reduce us to the sum of our parts. In the footsteps of Evelyn Alsultany I advocate the creation of a new cartography—a space that is inclusive and beyond existing notions of race. To this end I embarked on a project of exploration of the representation of multiracial identity, drawing from Homi K. Bhabha’s notion of Third Space.

Dancing doctorates downunder? Defining and assessing 'doctorateness' when embodiment enters the thesis

Assessment frames the focus of this paper, which emerges from our collaborative research, Dancing Between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, funded by the Australian Learning and Teaching Council (ALTC). We examine the attributes of danced ‘doctorateness’, giving special attention to those factors in the Australian environment, which may endow resilience to concepts of excellence, independent thinking and originality when kinaesthetic knowledge becomes pivotal to research. Have the small pool of examiners and relationships between academia and the professional artistic environment shaped these doctorates in a particular way? Can these perspectives illuminate and forge parameters by which to legitimate danced insight? These and related issues are interrogated giving voice to supervisors, research deans, candidates and industry professionals across Australia who participated in this research project.

Chamber : dance improvisation, masculine embodiment and subjectivity

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Remaking the body : explorations in the sociology of embodiment

As embodied social agents our lives are preoccupied with the production and reproduction of bodies. Making, unmaking and remaking our embodiment are ongoing activities. Eating, exercise, washing, grooming, dressing, for example, are activities in which the body engages in routine tasks of bodily management. Such activities can be seen as everyday rehabilitation. The study explores the impact of major physical impairment on embodiment, and on the processes involved in re-embodiment after catastrophic injury or disease. The experiences of the people in this study dramatically highlight the continuous, but largely taken for granted processes involved in our embodiment. Four analytical strands are interwoven throughout the study. The first strand relates to the frailty and vulnerability of the human body, characteristics which are epitomised by the bodies of the informants in this study. The second strand engages with key aspects of the context in which re-embodiment takes place, namely a context replete with crisis, danger, fear, uncertainty and risk. The third strand projects into the future in considering the ongoing project of self. The fourth strand addresses the institutional and social impediments which may confine vulnerable bodies and limit the exploration of more expansive bodies. The study is situated within the general theoretical approach of the sociology of the body. While recognizing the powerful impact of social discourse in the production of bodies, the study focuses on the critical role of embodiment in the reconstitution of self. The people in this study have experienced profound bodily change, but although this damage has disrupted, it has not annihilated their embodied selves. The people still possess and occupy their bodies. It is the obduracy of embodiment which directs the processes involved in remaking the body.

Zones of practice : embodiment and creative arts research

This article presents the trans-disciplinary encounters with and perspectives on embodiment of three creative-arts practitioners within the Deakin University research project Flows & Catchments. The project explores how creative arts participate in community and the possibility of well-being. We discuss our preparations for creative work exhibited at the 2012 Lake Bolac Festival un regional Western Victoria, Australia