Lisa Moravec is an Art Historian-Performance Scholar. She writes, lectures, curates, and dances on intersections of the performing and visual arts.

‘This highly original book, by galloping from pre-modern times to contemporary artistic strategies, analyses the interdisciplinary parcours that is societal dressage. A knowledgeable take on our shared beastly rhythms and body politics for those who want to reflect on "how we can more ethically train, rehearse, and perform together"’.Petra Lange-Berndt, Professor of Modern and Contemporary Art, Universität Hamburg ‘Within Dressaged Animality, Moravec makes a vivid and compelling case for the concept of "dressage" as allied to, but distinct from "training". Her attention to horses, and to the "centaurian", exposes a crucial pinch point in the history of corporeal forms.’Kélina Gotman, Professor of Performance and the Humanities at King’s College London ‘The book sensitively explores the relation of practices of dressage and political economy through animal art and performance. By this, it reinforces much needed links between Marxist and feminist body politics.’Karin Harrasser, Professor of Cultural Theory at the University of Art and Design Linz‘Bridging debates in animal studies with those of Marxism, Lisa Moravec has written a deeply historicised book that bridles at well-worn assumptions about animality, human subjectivity, and the role of performance therein. The rigorously researched chapters that comprise this monograph offer novel accounts of cross-species art, all of which culminate in the enthralling theory of "dressage" as a critical concept for grappling with the social relations that impinge on bodily training, discipline, and subject formation under conditions of late capitalism.’Michael Shane Boyle, Senior Lecturer in Drama, Theatre, and Performance Studies at Queen Mary University of London‘In this highly original and intriguing interdisciplinary study, Lisa Moravec presents us with a range of innovative performance works since the 1960s that centre on the entanglement of humans and animals. It reveals the history of dressage with its link to military practices, manège, and ballet, and expounds critical theories of dressage and human–animal relationships by the likes of Henri Lefebvre, Karl Marx and Donna Haraway. Through its guiding theme of animal and societal dressage, this book raises pertinent and ever-timely issues of ethics, anthropocentrism, human and animal agency, and issues of domination and suppression. Scholars and general readers alike will appreciate the fascinating material that Moravec has compiled, which straddles dance, theatre, and the visual arts.’Alexandra Kolb, Professor of Dance at the University of Roehampton

• 1. Theorising Dressage 2. Performance Histories: The Mechanisms of Human and Animal Dressage 3. The Critique of Dressage: Dancing Horses 4. The Ethics of Dressage: Non-Acting Dressage Acts 5. The Technology of Dressage: Animal Machines 6. Conclusion: Dressaged Animalities: Towards Human–Animal Forms of Bodily Realism

Lisa Moravec is an Art Historian-Performance Scholar. She writes, lectures, curates, and dances on intersections of the performing and visual arts.

‘This highly original book, by galloping from pre-modern times to contemporary artistic strategies, analyses the interdisciplinary parcours that is societal dressage. A knowledgeable take on our shared beastly rhythms and body politics for those who want to reflect on "how we can more ethically train, rehearse, and perform together"’.Petra Lange-Berndt, Professor of Modern and Contemporary Art, Universität Hamburg ‘Within Dressaged Animality, Moravec makes a vivid and compelling case for the concept of "dressage" as allied to, but distinct from "training". Her attention to horses, and to the "centaurian", exposes a crucial pinch point in the history of corporeal forms.’Kélina Gotman, Professor of Performance and the Humanities at King’s College London ‘The book sensitively explores the relation of practices of dressage and political economy through animal art and performance. By this, it reinforces much needed links between Marxist and feminist body politics.’Karin Harrasser, Professor of Cultural Theory at the University of Art and Design Linz‘Bridging debates in animal studies with those of Marxism, Lisa Moravec has written a deeply historicised book that bridles at well-worn assumptions about animality, human subjectivity, and the role of performance therein. The rigorously researched chapters that comprise this monograph offer novel accounts of cross-species art, all of which culminate in the enthralling theory of "dressage" as a critical concept for grappling with the social relations that impinge on bodily training, discipline, and subject formation under conditions of late capitalism.’Michael Shane Boyle, Senior Lecturer in Drama, Theatre, and Performance Studies at Queen Mary University of London‘In this highly original and intriguing interdisciplinary study, Lisa Moravec presents us with a range of innovative performance works since the 1960s that centre on the entanglement of humans and animals. It reveals the history of dressage with its link to military practices, manège, and ballet, and expounds critical theories of dressage and human–animal relationships by the likes of Henri Lefebvre, Karl Marx and Donna Haraway. Through its guiding theme of animal and societal dressage, this book raises pertinent and ever-timely issues of ethics, anthropocentrism, human and animal agency, and issues of domination and suppression. Scholars and general readers alike will appreciate the fascinating material that Moravec has compiled, which straddles dance, theatre, and the visual arts.’Alexandra Kolb, Professor of Dance at the University of Roehampton

• 1. Theorising Dressage 2. Performance Histories: The Mechanisms of Human and Animal Dressage 3. The Critique of Dressage: Dancing Horses 4. The Ethics of Dressage: Non-Acting Dressage Acts 5. The Technology of Dressage: Animal Machines 6. Conclusion: Dressaged Animalities: Towards Human–Animal Forms of Bodily Realism

Lisa Moravec is an Art Historian-Performance Scholar. She writes, lectures, curates, and dances on intersections of the performing and visual arts.

‘This highly original book, by galloping from pre-modern times to contemporary artistic strategies, analyses the interdisciplinary parcours that is societal dressage. A knowledgeable take on our shared beastly rhythms and body politics for those who want to reflect on "how we can more ethically train, rehearse, and perform together"’.Petra Lange-Berndt, Professor of Modern and Contemporary Art, Universität Hamburg ‘Within Dressaged Animality, Moravec makes a vivid and compelling case for the concept of "dressage" as allied to, but distinct from "training". Her attention to horses, and to the "centaurian", exposes a crucial pinch point in the history of corporeal forms.’Kélina Gotman, Professor of Performance and the Humanities at King’s College London ‘The book sensitively explores the relation of practices of dressage and political economy through animal art and performance. By this, it reinforces much needed links between Marxist and feminist body politics.’Karin Harrasser, Professor of Cultural Theory at the University of Art and Design Linz‘Bridging debates in animal studies with those of Marxism, Lisa Moravec has written a deeply historicised book that bridles at well-worn assumptions about animality, human subjectivity, and the role of performance therein. The rigorously researched chapters that comprise this monograph offer novel accounts of cross-species art, all of which culminate in the enthralling theory of "dressage" as a critical concept for grappling with the social relations that impinge on bodily training, discipline, and subject formation under conditions of late capitalism.’Michael Shane Boyle, Senior Lecturer in Drama, Theatre, and Performance Studies at Queen Mary University of London‘In this highly original and intriguing interdisciplinary study, Lisa Moravec presents us with a range of innovative performance works since the 1960s that centre on the entanglement of humans and animals. It reveals the history of dressage with its link to military practices, manège, and ballet, and expounds critical theories of dressage and human–animal relationships by the likes of Henri Lefebvre, Karl Marx and Donna Haraway. Through its guiding theme of animal and societal dressage, this book raises pertinent and ever-timely issues of ethics, anthropocentrism, human and animal agency, and issues of domination and suppression. Scholars and general readers alike will appreciate the fascinating material that Moravec has compiled, which straddles dance, theatre, and the visual arts.’Alexandra Kolb, Professor of Dance at the University of Roehampton

• 1. Theorising Dressage 2. Performance Histories: The Mechanisms of Human and Animal Dressage 3. The Critique of Dressage: Dancing Horses 4. The Ethics of Dressage: Non-Acting Dressage Acts 5. The Technology of Dressage: Animal Machines 6. Conclusion: Dressaged Animalities: Towards Human–Animal Forms of Bodily Realism