ABSTRACT
The introduction outlines the book's concept of ‘dressaged animality’ in regard to its interdisciplinary framework that fleshes out entanglements between the visual and performing arts and presents its overall argument: Artistic performance can take up a critique of dressage in the capitalist system, if the bodily animalities of its human and animal performers are considered. The introduction unpacks why an entangled Marxist and feminist approach is needed to conduct a critical historical analysis of contemporary performance, that also takes the economic position of performance, including its material leftovers being exhibited in cultural institutions, into account.
