Skip to main content
Article thumbnail
Location of Repository

Billy Elliot The Musical: visual representations of working-class masculinity and the all-singing, all-dancing bo[d]y

By G. Rodosthenous


According to Cynthia Weber, ‘[d]ance is commonly thought of as liberating, transformative, empowering, transgressive, and even as dangerous’. Yet ballet as a masculine activity still remains a suspect phenomenon. This paper will challenge this claim in relation to Billy Elliot the Musical and its critical reception. The transformation of the visual representation of the human body on stage (from\ud an ephemeral existence to a timeless work of art) will be discussed and analysed vis-a-vis the text and sub-texts of Stephen Daldry’s direction and Peter Darling’s\ud choreography. The dynamics of working-class masculinity will be contextualised within the framework of the family, the older female, the community, the self and\ud the act of dancing itself

Publisher: Intellect Ltd
Year: 2007
OAI identifier:

Suggested articles

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.