The Oxford Handbook of Dance and Theater collects a critical mass
of border-crossing scholarship on the intersections of dance and
theatre. Taking corporeality as an idea that unites the work of
dance and theater scholars and artists, and embodiment as a
negotiation of power dynamics with important stakes, these essays
focus on the politics and poetics of the moving body in performance
both on and off stage. Contemporary stage performances have sparked
global interest in new experiments between dance and theater, and
this volume situates this interest in its historical context by
extensively investigating other such moments: from pagan mimes of
late antiquity to early modern archives to Bolshevik Russia to
post-Sandinista Nicaragua to Chinese opera on the international
stage, to contemporary flash mobs and television dance contests.
Ideologically, the essays investigate critical race theory, affect
theory, cognitive science, historiography, dance dramaturgy,
spatiality, gender, somatics, ritual, and biopolitics among other
modes of inquiry. In terms of aesthetics, they examine many genres
such as musical theater, contemporary dance, improvisation,
experimental theater, television, African total theater, modern
dance, new Indian dance theater aesthetics, philanthroproductions,
Butoh, carnival, equestrian performance, tanztheater, Korean
Talchum, Nazi Movement Choirs, Lindy Hop, Bomba, Caroline Masques,
political demonstrations, and Hip Hop. The volume includes
innovative essays from both young and seasoned scholars and
scholar/practitioners who are working at the cutting edges of their
fields. The handbook brings together essays that offer new insight
into well-studied areas, challenge current knowledge, attend to
neglected practices or moments in time, and that identify emergent
themes. The overall result is a better understanding of the roles
of dance and theater in the performative production of meaning.
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