University of Hertfordshire

By the same authors

Choreographed Undressing: How the nature of observation informs the character of undressing

Research output: Contribution to conferencePaperpeer-review

Standard

Choreographed Undressing : How the nature of observation informs the character of undressing . / Brownie, Barbara.

2017. Paper presented at Revisiting the Gaze , London, United Kingdom.

Research output: Contribution to conferencePaperpeer-review

Harvard

Brownie, B 2017, 'Choreographed Undressing: How the nature of observation informs the character of undressing ', Paper presented at Revisiting the Gaze , London, United Kingdom, 28/06/17 - 29/06/17.

APA

Brownie, B. (2017). Choreographed Undressing: How the nature of observation informs the character of undressing . Paper presented at Revisiting the Gaze , London, United Kingdom.

Vancouver

Brownie B. Choreographed Undressing: How the nature of observation informs the character of undressing . 2017. Paper presented at Revisiting the Gaze , London, United Kingdom.

Author

Bibtex

@conference{2b068c46e52d422c934de45027aeed16,
title = "Choreographed Undressing: How the nature of observation informs the character of undressing ",
abstract = "The act of undressing is carried out habitually, and yet also frequently occurs as choreographed performance. This act takes on a variety of different characteristics depending on whether it is observed or unobserved, and on the character of that observation. The individual gestures that contribute to an act of undressing are tailored to invite or deter the gaze of others. Actors in these performances make decisions before and during undressing that determine the style in which they will transform the relationship between clothes and body, including the selection of appropriate garments, to delay or conceal their gestures.Examples for discussion will contrast two very different examples of choreographed undressing: striptease, which has traditionally invited the erotic gaze but is, in neo-burlesque, beginning to invite critical reflection on the presentation of the imperfect body for erotic consumption; and the removal of clothes in fitting rooms and locker rooms, where the act of undressing is choreographed to conceal the body from the unwanted gaze of others. The paper will also consider the mirror as audience, and the way in which the reflected gaze can prompt the habitual act of undressing to be transformed into a performance. All of these examples will be located in the historical context of undressing as an activity that has been commonly subject to the homospectatorial gaze, and of fashion design that has been determined in part by the expectation of participant involvement in the undressing process.",
keywords = "gaze, body, clothes, fashion, dress, undressing, performance, cheoreography, privacy",
author = "Barbara Brownie",
note = "Barbara Brownie, {\textquoteleft}Choreographed Undressing: How the nature of observation informs the character of undressing{\textquoteright}, presented at the Revisiting the Gaze: Feminism, Fashion and the Female Body Conference,London, UK, 28–29 June, 2017.; Revisiting the Gaze : Feminism, Fashion and the Female Body ; Conference date: 28-06-2017 Through 29-06-2017",
year = "2017",
month = jun,
day = "28",
language = "English",
url = "https://revisitingthegaze.wordpress.com/",

}

RIS

TY - CONF

T1 - Choreographed Undressing

T2 - Revisiting the Gaze

AU - Brownie, Barbara

N1 - Barbara Brownie, ‘Choreographed Undressing: How the nature of observation informs the character of undressing’, presented at the Revisiting the Gaze: Feminism, Fashion and the Female Body Conference,London, UK, 28–29 June, 2017.

PY - 2017/6/28

Y1 - 2017/6/28

N2 - The act of undressing is carried out habitually, and yet also frequently occurs as choreographed performance. This act takes on a variety of different characteristics depending on whether it is observed or unobserved, and on the character of that observation. The individual gestures that contribute to an act of undressing are tailored to invite or deter the gaze of others. Actors in these performances make decisions before and during undressing that determine the style in which they will transform the relationship between clothes and body, including the selection of appropriate garments, to delay or conceal their gestures.Examples for discussion will contrast two very different examples of choreographed undressing: striptease, which has traditionally invited the erotic gaze but is, in neo-burlesque, beginning to invite critical reflection on the presentation of the imperfect body for erotic consumption; and the removal of clothes in fitting rooms and locker rooms, where the act of undressing is choreographed to conceal the body from the unwanted gaze of others. The paper will also consider the mirror as audience, and the way in which the reflected gaze can prompt the habitual act of undressing to be transformed into a performance. All of these examples will be located in the historical context of undressing as an activity that has been commonly subject to the homospectatorial gaze, and of fashion design that has been determined in part by the expectation of participant involvement in the undressing process.

AB - The act of undressing is carried out habitually, and yet also frequently occurs as choreographed performance. This act takes on a variety of different characteristics depending on whether it is observed or unobserved, and on the character of that observation. The individual gestures that contribute to an act of undressing are tailored to invite or deter the gaze of others. Actors in these performances make decisions before and during undressing that determine the style in which they will transform the relationship between clothes and body, including the selection of appropriate garments, to delay or conceal their gestures.Examples for discussion will contrast two very different examples of choreographed undressing: striptease, which has traditionally invited the erotic gaze but is, in neo-burlesque, beginning to invite critical reflection on the presentation of the imperfect body for erotic consumption; and the removal of clothes in fitting rooms and locker rooms, where the act of undressing is choreographed to conceal the body from the unwanted gaze of others. The paper will also consider the mirror as audience, and the way in which the reflected gaze can prompt the habitual act of undressing to be transformed into a performance. All of these examples will be located in the historical context of undressing as an activity that has been commonly subject to the homospectatorial gaze, and of fashion design that has been determined in part by the expectation of participant involvement in the undressing process.

KW - gaze

KW - body

KW - clothes

KW - fashion

KW - dress

KW - undressing

KW - performance

KW - cheoreography

KW - privacy

UR - https://revisitingthegaze.wordpress.com/

M3 - Paper

Y2 - 28 June 2017 through 29 June 2017

ER -