Search results for: dance-as-a-theatre-art

Dance As a Theatre Art

Author : Selma Jeanne Cohen
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A 'living history' of dance through the writings of its greatest innovators.

Dance as a Theatre Art

Author : Selma Jeanne Cohen
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A compelling and detailed "living history," this book chronicles dance through the writings of its greatest innovators.

Dance Theory

Author : Tilden Russell
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"This book began in 2014 as an introduction to the book I was then writing about a small group of dance theorists-five Germans and an Englishman-and their treatises published between 1703 and 1721: obviously a very narrow conspectus in subject and years. The aim of the introduction was to place these largely ignored writers (epecially the Germans) in a broad historical context that would demonstrate how essential and pivotal they were. As I read further in dance theory I found more and more sources on the subject that turned out to be far more interesting and complex than I had originally imagined. The introduction kept getting longer, until it became an albatross on the book's actual text, not only because of its ever-increasing length, but more gravely, because I had assumed it would trace a teleological ascent in dance theory culminating in my authors and their works, followed by a degenerative aftermath. This tendentious viewpoint threatened not only to deter readers from a sympathetic reading of the book as a whole; it turned out, the more I read and learned, to be simply wrong. The history of dance theory, as I gradually came to realize, is too interesting and important to be exploited for spurious purposes. Also, it's an untold story. Dance historians are familiar with many or most of the authors and titles, but not what they have to say about dance theory. That's the part usually at the beginning of books that is skimmed through in order to get to the more urgent preoccupations of historical dancers and dance historians: performance practice, reconstruction, technique, and repertoire. Viewed superficially, moreover, it can seem as if the same self-evident and obligatory themes keep getting repeated like clichés in these sections under the general rubric of theory: a definition of dance and/or dance theory, or at least a list of their basic components; the relation of dance to the other arts and other areas of knowledge; dance's origin and history; and its utility (i.e., health, social conduct and success, recreation). Finally, and contrary to what I had long believed, dance theory is not dead. In fact, it is thriving in the twenty-first century. Yes, I was fully aware that something called dance theory was being copiously written and talked about, and that "theory" and "theorizing" and "theorist" had become wildly ubiquitous in dance scholars' lexicon, but I believed that what they were talking about was no genuine dance theory, had no kinship with what was historically accepted as dance theory, and did not meet the criteria of what a theory should be. I was convinced that what I considered dance theory had been swept away in the iconoclastic, irreverent, and nonconformist spirit of postmodernism. Luckily, early readers tactfully convinced me to address my folly. As I wrote, I learned. Writing this book has already served as a textbook in my own learning experience. There are some excellent compilations of readings in dance history. The common format is to devote each chapter to a historical period, with an introductory essay followed by relevant readings. The number of readings tends to increase as history marches on, peaking in the nineteenth century. A sampling of such compilations follows. Each book differs from this one in different ways, but in general, and by intent, none of them does everything this book sets out to do: treat theory in depth and as a discrete topic; treat theatrical and social dance equally; include readings dating from classical Antiquity to the twenty-first century; and link the readings, through brief introductory essays, from end to end by a narrative thread based on salient topics as seen from evolving perspectives"--

Dance Creative rhythmic Movement Education

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Rhythm and Timing of Movement in Performance

Author : Janet Goodridge
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Despite the richness of the subject and the importance frequently ascribed to the phenomena of rhythm and timing in the arts, the topic as a whole has been neglected. Janet Goodridge writes from a practical movement background and draws on a wide range of sources to illuminate the subject in relation to theatre, drama, dance, ceremony, and ritual.

Perpetual Motion

Author : Janice Pomer
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Now there's a resource that makes it easy to get both female and male students excited about dance, build essential skills, and improve educational outcomes - even for teachers who have never taught movement exercises before. Perpetual Motion: Creative Movement Exercises for Dance and Dramatic Arts introduces more than 100 movement experiences organized around six themes: rules, recipes, props, poetry and prose, objects and images, and integrated arts. Perpetual Motion will enable any teacher to successfully integrate movement exercises into general classroom, dramatic arts, language arts, and physical education classes. There is no better reference for overcoming students' fears about dance and helping them develop vital learning skills that will pay off in any educational setting.

The Dance Theatre of Kurt Jooss

Author : Suzanne Walther
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First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

Theatre Arts

Author : Sheldon Cheney
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The Musical as Drama

Author : Scott McMillin
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Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago. Critics and composers have long held the musical to the standards applied to opera, asserting that each piece should work together to create a seamless drama. But McMillin argues that the musical is a different form of theater, requiring the suspension of the plot for song. The musical's success lies not in the smoothness of unity, but in the crackle of difference. While disparate, the dancing, music, dialogue, and songs combine to explore different aspects of the action and the characters. Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920s and 1930s to the musicals of today.

The Alcalde

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As the magazine of the Texas Exes, The Alcalde has united alumni and friends of The University of Texas at Austin for nearly 100 years. The Alcalde serves as an intellectual crossroads where UT's luminaries - artists, engineers, executives, musicians, attorneys, journalists, lawmakers, and professors among them - meet bimonthly to exchange ideas. Its pages also offer a place for Texas Exes to swap stories and share memories of Austin and their alma mater. The magazine's unique name is Spanish for "mayor" or "chief magistrate"; the nickname of the governor who signed UT into existence was "The Old Alcalde."

Theatre Arts

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Costume Design for the Dance

Author : Helen Ruth Ashman
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Dance Theatre of India

Author : Katia Legeret-Manochhaya
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- Translated from French, this non-fiction on Indian dance theatre provides both an insider's and an outsider's perspective. The author-Katia Légeret-Manochhaya - narrates her real life experiences with the art forms she learned in India. With distinguished expertise on the aesthetics of Indian dance theatre, the author speaks of its influence on Europe and how it is staged theatrically in contemporary France - Transformed into a transcultural piece of work in its very essence, this book overcomes all barriers - linguistic, literary, physical, cultural and geographical - to bring the global community of actor-dancers from the world of dance theatre to the fore At the heart of Indian literature, Dance Theatre of India by Katia Légeret-Manochhaya, is a book where the author explores the various rasas of Bharata-natyam and other dance forms, both as a dancer and a researcher. In the milieu of diverse linguistic and cultural interpretations, the book is a field of experimentation where the modalities for expressions and cultural differences would forever reinvent themselves. As one browses through the pages, one is transported to a world of dance and drama reading the various expressions of the artists in colorful costumes narrating stories from all over the world. The examples proposed are linked with knowledge which derives from the erudition of Sanskrit texts or from the collective creativity of artists from several cultures of India and other countries. Like the art forms it discusses, the book is a transcultural piece of work in its very essence.

Theatre Arts Monthly

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Dance Magazine

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Creative Dance Journal

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Life and Art of C N Vasudevan Tamil Dancer and Tagore

Author : V. Isvarmurti
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Dance Art and Aesthetics

Author : Hildred Betty Redfern
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TAC a Magazine of Theatre Film Radio Music Dance

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Dancing Texts

Author : Janet Adshead-Lansdale
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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.