The concern of this paper is to address the ways in which dance performance as an ideological, representational vehicle derives its power and transforms ideology into actions and beliefs. In addition, the aim is to address the ways in which the nature of subjectivity is challenged by psychoanalytic theory leading to a further understanding of the constitution of female subjectivity and the impossibility of imposing a sexually differentiated schemata as a fully rounded acquisition. By taking a brief analysis of Swan Lake I will demonstrate the relevance of Lacanian psychoanalytic theory, showing the ways in which it highlights questions regarding the difficulties of spectatorship for women -questions that are particularly apt when asked in relation to the content, structure and style of Swan Lake.
KeywordsCoherence Posit Lost Rounded Metaphor
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