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- W4386988232 abstract "This conclusion urges scholars and artists attend to theater's often-invisible labor of staging sexuality, which intimacy choreography has recently made visible. Building on one of the first depictions of an intimacy choreographer character on HBO’s television series High Maintenance and Mierle Laderman Ukeles’s Maintenance Art, the chapter conceptualizes intimacy choreography as maintenance work on a society’s erotic infrastructure. Staging scenes of intimacy can be challenging for artists’ identities, and intimacy choreographers help artists maintain their wellbeing amidst intimacy’s power to blur fact and fiction. Next, I tie intimacy choreography to asexuality, the orientation of not experiencing sexual attraction to others. Building off High Maintenance’s depiction of a connection between an intimacy choreographer and an asexual person, I argue that intimacy choreography and asexuality studies similarly reorient conversation away from attraction—asexuals are those who do not experience sexual attraction—and toward sensation. Asexuality is not about refraining from sex or censoring it but rather about altering our orientation to it. As my study of intimacy directing has underscored, attraction alone cannot sustain the staging of erotic scenes; intimacy requires choreography to sustain it. Intimacy choreography creates tools for staging sexuality that craft a narrative regardless of artists’ own sexual identities or attraction to each other. I close by underscoring consent's etymological meaning as feeling together and argue for a shift in intimacy choreography from legal understandings of consent toward a performance studies lens of shared sensation." @default.
- W4386988232 created "2023-09-24" @default.
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- W4386988232 date "2023-01-01" @default.
- W4386988232 modified "2023-10-18" @default.
- W4386988232 title "Conclusion: Keep in Touch" @default.
- W4386988232 doi "https://doi.org/10.1007/978-3-031-31222-9_7" @default.
- W4386988232 hasPublicationYear "2023" @default.
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