This thesis was inspired by Carrie’s early-career artistic practice in the roles of both choreographer and dancer:

“having undertaken both roles in the studio, I was intrigued by the ambiguity over the control of authorship. When choreographers work closely with dancers it is necessarily an inherently entangled process, but one that can produce really exciting results.”

The writing explores the collaborative choreographer-dancer relationship in the forming of a unitary vision in which all elements of the dance are working harmoniously.  Carrie explores in detail her own role as choreographer in a work titled Eve, offering valuable insights into her studio practice of working collaboratively with dancers to produce a rich and vibrant accumulation of views and interpretations towards subject matter. She explores the degree to which the dancer and choreographer inhabit the roles of ‘reader and writer’, how they are variable and temporarily simultaneous. Ultimately, she evaluates her own choreographic dilemma through practice as reaeach: how can a choreographer allow the dancer to make a genuine contribution to the dance, whilst at the same time guide the work towards a unitary vision?

Limitations imposed on a text when a singular author

Decentralises role.

The writing makes particular reference to Roland Barthe’s Death of the author and theories of reader and writer,. Henri Bergson’s Theory of Creative Evolution inspires the creative practice as does Iser’s “Act of Reading. Siobhan Davies’ longstanding practice of casting dancers as collaborators and sole genrators of movement material.

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