By Liz Aggiss, Billy Cowie
Liz Aggiss and Billy Cowie, identified jointly as Divas Dance Theatre, are popular for his or her hugely visible, interdisciplinary brand of dance functionality that includes components of theatre, movie, opera, poetry and vaudevillian humour. Anarchic Dance, which includes a e-book and DVD-Rom, is a visible and textual checklist in their boundary-shattering functionality work. The DVD-Rom features extracts from Aggiss and Cowie's paintings, together with the highly-acclaimed dance film Motion keep watch over (premiered on BBC2 in 2002), rare video pictures of their punk-comic live performances because the Wild Wigglers and reconstructions of Aggiss's solo functionality in Grotesque Dancer. These films are cross-referenced within the book, allowing readers to check functionality and observation as Aggiss and Cowie invite a extensive diversity of writers to check their concert and dance display perform via research, thought, dialogue and personal response. generally illustrated with black and white and color pictures Anarchic Dance, offers a accomplished research into Cowie and Aggiss’s collaborative partnership and demonstrates a number interesting ways wherein dance functionality may be engaged seriously.
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Extra resources for Anarchic Dance
Brach’, the threatening breaking of the rose, is shouted and sharply articulated, like a shot from a gun. Little pantomimic acts are interspersed between the verses. Aggiss steps away from the microphone and executes grand all-encompassing movements with extensive, large, sweeping arm gestures. This is unanswered love of a diﬀerent nature. The next section is once more determined by the music, which quotes earlier phrases and themes. Liz Aggiss begins to undress; she takes her socks and shoes oﬀ (DVD 4:5).
Yet at the same time, Aggiss, in dancing her mobile identities, is also inimitably her own visceral signature. It is her face that ﬂinches, grimaces and mocks. Dexterous hands and agile facial expressions are essential elements of the microphysics of her style. Hands and face are also the most personalized zones of our bodies. It is the handprint that informs our biological and cultural identity, and the face that is our mark in the world. We feel we know her but then she goes and surprises us, unexpectedly.
In The Fetching Bride both roles, the seducer and seduced, are played by women. The Groom5 is dressed as a man in a black leather suit. 1). The bending of gender within the performance deﬁes the travesty of female to male cross-dresser by also being a performance of a heterosexual contract as a contract killing. The bride empties herself into the groom. She assumes an imposture, a deliberate fakeness, averting the reductive deﬁnitions that congeal around a woman dancing a role as a woman (DVD 2:3).
Anarchic Dance by Liz Aggiss, Billy Cowie