ABSTRACT
In line with Warner’s call for a ‘thorough resistance to regimes of the normal’, the reworkings of Swan Lake by Javier de Frutos and Raimund Hoghe, the focus of this chapter, work to reveal the hegemony of the canon – querying and queering the ballet. As concepts of masculinity, sexuality and the male dancer are intertwined, and the ways in which they impress on each other are investigated, the reworkings by de Frutos and Hoghe reveal variously refigured male bodies, masculinities and sexual identities. Marked by internal contradictions and historical disruptions, these reworkings present images of men that have the potential radically to reconfigure the status quo, for the borders have been breached and the masking cloak removed.
