Rodosthenous, G. (2007) Billy Elliot The Musical: visual representations of working-class masculinity and the all-singing, all-dancing bo[d]y. Studies in Musical Theatre , 1 (3). pp. 275-292. ISSN 1750-3167
Abstract
According to Cynthia Weber, ‘[d]ance is commonly thought of as liberating, transformative, empowering, transgressive, and even as dangerous’. Yet ballet as a masculine activity still remains a suspect phenomenon. This paper will challenge this claim in relation to Billy Elliot the Musical and its critical reception. The transformation of the visual representation of the human body on stage (from an ephemeral existence to a timeless work of art) will be discussed and analysed vis-a-vis the text and sub-texts of Stephen Daldry’s direction and Peter Darling’s choreography. The dynamics of working-class masculinity will be contextualised within the framework of the family, the older female, the community, the self and the act of dancing itself.
Metadata
Item Type: | Article |
---|---|
Authors/Creators: |
|
Copyright, Publisher and Additional Information: | © 2010 Intellect Ltd. This is an author produced version of a paper published in Studies in Musical Theatre. Uploaded in accordance with the publisher's self-archiving policy. |
Keywords: | Billy Elliot, Masculinity, male dancers, dancing musicals, representations of the male |
Dates: |
|
Institution: | The University of Leeds |
Academic Units: | The University of Leeds > Faculty of Arts, Humanities and Cultures (Leeds) > Performance and Cultural Industries (Leeds) |
Depositing User: | Dr George Rodosthenous |
Date Deposited: | 11 Feb 2010 18:14 |
Last Modified: | 08 Feb 2013 17:00 |
Published Version: | http://dx.doi.org/10.1386/smt.1.3.275_1 |
Status: | Published |
Publisher: | Intellect Ltd |
Refereed: | Yes |
Identification Number: | 10.1386/smt.1.3.275_1 |
Open Archives Initiative ID (OAI ID): | oai:eprints.whiterose.ac.uk:10354 |