Dance and British Literature: An Intermedial Encounter
(Theory - Typology - Case Studies)
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Dance and literature seem to have much in common. Both are part of a culture, represent a culture, and subvert a culture. Yet at the same time, they appear to be medial antagonists: one is kinetic and multimedial, the other (often) verbal and seemingly mono-medial. What happens, however, when both meet; when movement is integrated into the literary world or even replaces verbal communication? Dance is artistic and popular, traditional and innovative, bodily and ephemeral. It holds cultural and kinetic information in a nutshell and thus brings movement and cultural history into a text. Shakespe...
Dance and literature seem to have much in common. Both are part of a culture, represent a culture, and subvert a culture. Yet at the same time, they appear to be medial antagonists: one is kinetic and multimedial, the other (often) verbal and seemingly mono-medial. What happens, however, when both meet; when movement is integrated into the literary world or even replaces verbal communication? Dance is artistic and popular, traditional and innovative, bodily and ephemeral. It holds cultural and kinetic information in a nutshell and thus brings movement and cultural history into a text. Shakespeare's plays, Restoration comedy, 19th century caricature, popular and elitist theatre, all make use of dance as special means of signification. Thus, this study explores dance in British literature from Shakespeare to Yeats, and illustrates the many ways in which these two forms of artistic expression can enter into various kinds of intermedial encounters and cultural alliances.
