Toward a Narratology of Western Narrative Theatre Dance

ABSTRACT: Dance is barely present in narrative studies. It is generally accepted as a narrative medium, yet lacks a systematic study that addresses its distinctive qualities. This article focuses on generic theoretical issues of dance as a narrative medium and discusses its place within current narratological debates. The first premise suggested here is that among the diferent manifestations of dance, narrative theatre dance is the fullest expression of narrativity, with a narrative essence that the notions of plot and experientiality help defining and grading. Taking the discussion through routes explored for drama, this essay also argues for a narratological model of the analysis of dance narratives on two levels: the story level and the discourse level understood as performance. Another set of considerations concentrate on the semiotic structure of dance, showing how it can be dissected in a productive way for narratological analyses. The essay ends with a discussion on the relevance of context and cultural conventions for the interpretation of dance. Underpinning these reflections are foundational studies of transmedial narratology, widely-used narratological definitions of narrative, and discussions of the narrative nature of drama as well as key texts from the history, philosophy and analysis of dance. Three examples of dance—John Weaver’s ballet The Loves of Mars and Venus (1717), Kenneth MacMillan’s The Invitation (1960), and Leonid Yakobson’s Vestris (1969)—illustrate this theoretical argumentation.