The Modern era, roughly the time between 1860-1930, brought about a
significant restructuring of artistic mediums. From the canvas to the page, artists of the
twentieth century turned towards collaboration as a means by which they could
reconfigure their works. Painters, writers, and dancers, borrowed aesthetic techniques
from one another and transferred them into their own mediums. One of these borrowed
techniques was the use of space. Space as a theoretical principle is the device from
which we can observe the connections between the literary, visual, and dance mediums
which were emerging at the turn of the twentieth century. These connections, centered
on a similar theoretical principle, show the significance of these collaborations to the
formation of modern art.
Current studies of these associations have been centered primarily on writers
and painters particularly the poetry of William Carlos Williams and twentieth century
visual art. This critique extends those readings of Williams' poetry to include the
influence of dance on his work as well. By critiquing a literary work through dance and
dance theory, this study demonstrates on the one hand the importance of dance in the
twentieth century, and on the other, that dance theory is a viable source from which the
field can more aptly engage in the scholarly inquiries of other academic fields.
A study of Williams and dance not only reveals the interconnectedness between
literature and dance, but it also serves as an example of dance criticism which moves
beyond the sociological questions of dance. It is an inquiry into the philosophical and
kinesiological aspects of dance which shows that while the art form is inherently
connected to the sociological critiques of race, gender, and class, dance is also based in
theory as well. To observe dance in these terms creates a more distinct parallel between
dance and other academic discourses. This study demonstrates a way in which dance
criticism can expand and establish a lasting position as a viable academic discipline.
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