ABSTRACT
Here I turn to reworkings by two women that self-consciously revision the ballet from feminist perspectives and, in doing so, explicate the potential relationships between the choreographic strategies employed in reworkings and feminism. The dances discussed in this chapter are Lac de Signes (1983) and The Ballerina’s Phallic Pointe (1994) by Susan Foster, and my own choreographic installation O (a set of footnotes to Swan Lake) (2002).
