Dressaged Animality

The book applies a productive interdisciplinary lens of art history, performance, and animal studies for approaching political economy issues, critiquing anthropomorphic worldviews, and provoking thoughts around animal and human nature that spark impulses for an innovative performance aesthetics and ethics.

It combines Marxist analysis with feminist and posthumanist methodology to analyse the relation between ?societal dressage? and ?bodily animality? that humans and animals share. Within this original theoretical framework, the book develops the concept of ?dressaged animality? as a mode of critique to analyse the social and political function of interdisciplinary forms of ?contemporary performances.?

Drawing on archival and primary research, the book theorises and historicises more than 15 performance practices in which animality is allegorically staged through by humans danced, real, or filmically mediated animals. It focuses on Rose English?s pioneering approach to performance-making as well as on overlooked performances by other renown and largely unknown American (Mike Kelley/Kate Foley, Robert Morris, Bruce Nauman, Yvonne Rainer, Diana Thater), British (Mark Wallinger, Rose English), and European artists (Tamara Grcic, Judith Hopf, Joseph Beuys, Bartabas) from the late 1960s until the late 2010s. While various types of artistic practice are framed as forms of critique (for example, protest art, interventionist strategies, institutional critique), the book maps an original performance theory in art which shows that contemporary artistic performances can also take up a critique of societal dressage.

This study will be of great interest to students and scholars in art history, theatre, dance and performance studies, and ecology, as well as to artists and curators working with performance.

?This highly original book, by galloping from pre-modern times to contemporary artistic strategies, analyses the interdisciplinary parcours that is societal dressage. A knowledgeable take on our shared beastly rhythms and body politics for those who want to reflect on "how we can more ethically train, rehearse, and perform together"?.

Petra Lange-Berndt, Professor of Modern and Contemporary Art, Universität Hamburg?

?Within Dressaged Animality, Moravec makes a vivid and compelling case for the concept of "dressage" as allied to, but distinct from "training". Her attention to horses, and to the "centaurian", exposes a crucial pinch point in the history of corporeal forms.?

Kélina Gotman, Professor of Performance and the Humanities at King?s College London?

?The book sensitively explores the relation of practices of dressage and political economy through animal art and performance. By this, it reinforces much needed links between Marxist and feminist body politics.?

Karin Harrasser, Professor of Cultural Theory at the University of Art and Design Linz

?Bridging debates in animal studies with those of Marxism, Lisa Moravec has written a deeply historicised book that bridles at well-worn assumptions about animality, human subjectivity, and the role of performance therein. The rigorously researched chapters that comprise this monograph offer novel accounts of cross-species art, all of which culminate in the enthralling theory of "dressage" as a critical concept for grappling with the social relations that impinge on bodily training, discipline, and subject formation under conditions of late capitalism.?

Michael Shane Boyle, Senior Lecturer in Drama, Theatre, and Performance Studies at Queen Mary University of London

?In this highly original and intriguing interdisciplinary study, Lisa Moravec presents us with a range of innovative performance works since the 1960s that centre on the entanglement of humans and animals. It reveals the history of dressage with its link to military practices, man?ge, and ballet, and expounds critical theories of dressage and human?animal relationships by the likes of Henri Lefebvre, Karl Marx and Donna Haraway. Through its guiding theme of animal and societal dressage, this book raises pertinent and ever-timely issues of ethics, anthropocentrism, human and animal agency, and issues of domination and suppression. Scholars and general readers alike will appreciate the fascinating material that Moravec has compiled, which straddles dance, theatre, and the visual arts.?

Alexandra Kolb, Professor of Dance at the University of Roehampton