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This book takes an innovative approach to dance analysis, looking at issues in the interpretation and reading of dances. Building on Janet Adshead-Lansdale's Dance Analysis: Theory and Practice (1988), Dancing Texts reshapes recent developments in post-structuralist and literary theory to illuminate close readings of dances. Following a thorough introduction to the theoretical basis of intertextuality in relation to dance, the book offers a number of fully worked out examples of dance analysis, with subjects spanning the twentieth century and ranging from video-dance to ballet. The examples chosen include classical, modern and postmodern styles of theatre dance and also explore relations with music, film, architecture, language, popular culture and ethnicity. The shifting and fluid interpretations that emerge illustrate the processes of intertextuality itself, opening up a new arena for dance analysis and criticism. The editor, Janet Adshead-Lansdale, is forrmer Professor of Dance Studies and Head of the School of Performing Arts at the University of Surrey, and the authors are choreographers, researchers, and university lecturers working in dance analysis.
Recreation. Games. Sports. Corp. expression --- Dance. --- Modern dance. --- Dance criticism. --- Dance --- Danse --- Danse moderne --- Critique de danse --- Philosophy. --- Philosophie
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Musical criticism --- Opera --- Dance criticism --- Critique musicale --- Opéra --- Critique de danse --- History --- Histoire --- Opéra --- France --- 19th century
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Comment rendre compte et partager des relations que l’on peut entretenir avec des œuvres et/ou avec des artistes que nous n’avons pas connu·es ? Une critique dansée est-elle possible ? À quoi peuvent ressembler les pratiques critiques d’une performeuse écrivaine lesbienne et féministe ? Cet ouvrage tente de répondre à ces questions en suivant la recherche-création de Pauline L. Boulba, chercheuse en danse et artiste chorégraphique. L'autrice s'arrête sur trois oeuvres Une hypothèse de réinterprétation de Rita Quaglia (2009), histoire(s) d'Olga de Soto (2004), et Admiring la Argentina de Kazuo Ôno (1977) dont elle dégage des outils pour penser la réception en danse comme un espace de création. Puis elle retrace la trajectoire de Jill Johnston dont elle s'inspire : cette critique de danse et performeuse dans les années 1960 aux États-Unis, lesbienne radicale, pour qui les pratiques critiques étaient des lieux d'invention de soi. Émaillé d'extraits d'un journal de bord, de fragments critiques et de matériaux de performances, ce livre dessine un travail de recherche original, singulier, et traversé d'affects. CritiQueer la danse rend compte d'une tentative de substituer à des pratiques critiques d'art hégémoniques des perspectives queer et féministes.
Critique de danse. --- Théorie queer --- Féminisme et arts. --- Féminisme --- Dans la danse. --- Dans la danse.
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Dance criticism --- Dance critics --- Critique de danse --- Critiques de danse --- Croce, Arlene --- Siegel, Marcia B. --- Jowitt, Deborah. --- Goldner, Nancy. --- Theatrical science --- New York City
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Dance and literary studies have traditionally been at odds: dancers and dance critics have understood academic analysis to be overly invested in the mind at the expense of body signification; literary critics and theorists have seen dance studies as anti-theoretical, even anti-intellectual.
Recreation. Games. Sports. Corp. expression --- Literature --- Dance criticism. --- Dance --- Criticism. --- Dance in literature. --- Critique de danse --- Danse --- Critique --- Danse dans la littérature --- Philosophy. --- Philosophie --- Dance criticism --- Dance in literature --- Philosophy --- Danse dans la littérature --- Dance - Philosophy
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Wars in this century are radically different from the major conflicts of the 20th century--more amorphous, asymmetrical, globally connected, and unending. Choreographies of 21st Century Wars is the first book to analyze the interface between choreography and wars in this century, a pertinent inquiry since choreography has long been linked to war and military training. The book draws on recent political theory that posits shifts in the kinds of wars occurring since the First and Second World Wars and the Cold War, all of which were wars between major world powers. Given the dominance of today's more indeterminate, asymmetrical, less decisive wars, we ask if choreography, as an organizing structure and knowledge system, might not also need revision in order to reflect on, and intercede in, a globalized world of continuous warfare. In an introduction and sixteen chapters, authors from a number of disciplines investigate how choreography and war in this century impinge on each other. Choreographers write of how they have related to contemporary war in specific works, while other contributors investigate the interconnections between war and choreography through theatrical works, dances, military rituals and drills, the choreography of video war games and television shows. Issues investigated include torture and terror, the status of war refugees, concerns surrounding fighting and peacekeeping soldiers, national identity tied to military training, and more. The anthology is of interest to scholars in dance, performance, theater, and cultural studies, as well as the social sciences.
Dance --- Choreography --- Dance criticism. --- Danse --- Critique de danse --- Political aspects. --- Aspect politique --- Chorégraphie --- Political aspects --- Thematology --- Theatrical science --- anno 2000-2099 --- Chorégraphie --- Dance criticism --- Criticism --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics
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La danse contemporaine a opéré, dans les années quatre-vingt, une importante transformation du paysage chorégraphique français. Elle est devenue une référence incontournable dans le domaine de la création. Cette mutaiton a été particulièrement suivie, commentée et finalement stimulée par la presse écrite qui n'a pas manqué de s'interroger sur la nature de cette nouvelle approche de la danse. Les nouvelles formes d'expressions chorégraphiques et journalistiques se sont ainsi conjuguées pour donner naissance à un discours artistique rigoureusement moderne et contemporain. "Presse écrite et danse contemporaine" dresse un bilan de l'histoire de la danse contemporaine, s'interroge sur l'immobilisme culturel contre lequel il faut batailler sans cesse et propose au fil des pages des éléments de réflexion sur le devenir de la danse française.
Modern dance --- Dance criticism --- Danse moderne dans la presse --- Critique de danse --- Danse moderne --- Press coverage --- History --- Histoire --- Critique de la danse --- Dance in literature --- Dances dans la littérature --- Dans in de literatuur --- Danskritiek --- France --- Modern dance - France - History
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Lucia Ruprecht's study is the first monograph in English to analyse the relationship between nineteenth-century German literature and theatrical dance. Combining cultural history with close readings of major texts by Heinrich von Kleist, E.T.A. Hoffmann and Heinrich Heine, the author brings to light little-known German resources on dance to address the theoretical implications of examining the interdiscursive and intermedial relations between the three authors' literary works, aesthetic reflections on dance, and dance of the period. In doing so, she not only shows how dancing and writing relate to one another but reveals the characteristics that make each mode of expression distinct unto itself. Readings engage with literary modes of understanding physical movement that are neglected under the regime of eighteenth-century aesthetic theory, and of classical ballet, setting the human, frail and expressive body against the smoothly idealised neoclassicist ideal. Particularly important is the way juxtaposing texts and performance practice allows for the emergence of meta-discourses about trauma and repetition and their impact on aesthetics and formulations of the self and the human body. Related to this is the author's concept of performative exercises or dances of the self which constitute a decisive force within the formation of subjectivity that is enacted in the literary texts. Joining performance studies with psychoanalytical theory, this book opens up new pathways for understanding Western theatrical dance's theoretical, historical and literary continuum.
Kleist, Heinrich von (1777-1811) --- Hoffmann, Ernst Theodor Amadeus (1776-1822) --- Heine, Heinrich (1797-1856) --- Critique de danse --- Danse moderne --- Littérature allemande --- Danse --- Esthétique --- Critique et interprétation --- Critique et interprétation --- Critique et interprétation --- Allemagne --- 19e siècle --- 18e siècle --- Dans la littérature --- Dans la littérature --- Kleist, Heinrich von (1777-1811) --- Hoffmann, Ernst Theodor Amadeus (1776-1822) --- Heine, Heinrich (1797-1856) --- Critique de danse --- Danse moderne --- Littérature allemande --- Danse --- Esthétique --- Critique et interprétation --- Critique et interprétation --- Critique et interprétation --- Allemagne --- 19e siècle --- 19e siècle --- 18e siècle --- Thèmes, motifs --- Dans la littérature --- Dans la littérature
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Dance --- Dance criticism --- Tanz. --- Research --- History and criticism --- Geschichte --- Dance. --- Dance criticism. --- Research. --- Dances --- Dancing --- Criticism --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- Tanz --- Tanzkunst --- Tanzkultur --- Tanzen --- Tänze --- Taniec --- Geschichte. --- Tänze --- Danse --- Critique de danse --- Recherche --- Étude et enseignement --- Histoire et critique --- Aspect social --- Aspect anthropologique
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