Show simple item record

dc.contributor.supervisorMiller, Lee
dc.contributor.authorFlisher, Mark Andrew
dc.contributor.otherFaculty of Arts, Humanities and Businessen_US
dc.date.accessioned2017-05-19T14:35:48Z
dc.date.issued2017
dc.identifier10237074en_US
dc.identifier.urihttp://hdl.handle.net/10026.1/9290
dc.descriptionThe hardcopy of this Practice as Research PhD comes with two DVDs that contain the documentation and rehearsal process for two of the three performances that form part of this thesis. The video recordings of 'Spitting Distance' (2011–2012) and 'Talking about Keith' (2014) can now be found as separate files, which are clearly linked to this document.en_US
dc.description.abstract

Towards the end of the last century discussions on the representation of masculinity in male body-based performance art placed emphasis on the deconstruction of normative masculine identities. The focus of these investigations tended to position the image of masculinity within Lacan’s sexuation matrix, and as such, these representations were usually referred to as being phallic. That is, they reinscribed the behaviours, traits and characteristics of normative masculinity into the performance space. The central thrust of this practice-as-research thesis is that while some male artists deconstruct the performance of phallic masculinity, to challenge normative masculine ideologies, they often first reinscribe normativity onto their bodies. I argue that, while achieving a destabilisation, this approach does not take into consideration the multiplicity of masculine identities that emerge through the individual lived experiences of masculinity

This thesis proposes that the performance of my personal experiences of having a masculine identity, and the exploration of these through my male body, might offer an alternative challenge to normative masculinity. Deriving from performance practices that I refer to as ’muscular masculinity’ consideration is given to how I might make space in my work to encourage a focus on the sensorial qualities of having a masculine identity. I mean this in relation to, for example, the feelings of emotions such as shame, anxiety, and vulnerability that emerge as a result of challenging my own identity, and also the different corporeal pleasures I experience as a result of having a male body. In this thesis, I refer to the practice of attending to these sensorial qualities and the gaps that emerge through an intersubjective exchange in performance, as generosity. Furthermore, I argue that generosity can challenge normative representations of masculinity because it requires the male artist to struggle; to struggle with the incoherence of their identity, to struggle with their body, and to struggle with the insecurity of meaning making.

en_US
dc.description.sponsorshipLeeds Beckett Universityen_US
dc.language.isoen
dc.publisherUniversity of Plymouth
dc.subjectBody Arten_US
dc.subjectMasculinitiesen_US
dc.subjectIdentityen_US
dc.subjectAbjecten_US
dc.subjectPractice as Researchen_US
dc.subject.classificationPhDen_US
dc.titleReflections On Leaking Men And Abject Masculinities: Challenging Representations Of Male Identity In And Through Body-Based Performance Arten_US
dc.typeThesis
plymouth.versionpublishableen_US
dc.identifier.doihttp://dx.doi.org/10.24382/1193
dc.rights.embargodate2018-05-19T14:35:48Z
dc.rights.embargoperiod12 monthsen_US
dc.type.qualificationDoctorateen_US
rioxxterms.versionNA


Files in this item

Thumbnail
Thumbnail
Thumbnail
Thumbnail
Thumbnail
Thumbnail

This item appears in the following Collection(s)

Show simple item record


All items in PEARL are protected by copyright law.
Author manuscripts deposited to comply with open access mandates are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author.
Theme by 
Atmire NV