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choreography --- visual arts --- Brown, Trisha --- Choreografen. --- choreography. --- visual arts. --- Brown, Trisha, --- visual arts [discipline] --- Artists --- Dancers --- Choreographers --- Brown, Patricia Ann, --- Brown Schlichter, Trisha, --- Schlichter, Trisha Brown, --- Trisha Brown Company

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Dance travels as does thought about dance. This book renews thinking about the moving body by drawing on dance practice and performance from across the world. Eighteen internationally recognised scholars show how dance can challenge our thoughts and feelings about our own and other cultures, our emotions and prejudices, and our sense of public and private space. In so doing, they offer a multi-layered response to ideas of affect and emotion, culture and politics, and ultimately, the place of dance and art itself within society. The chapters in this collection arise from a number of different political and historical contexts. By teasing out their detail and situating dance within them, art is given a political charge. That charge is informed by the work of Michel Foucault, Stuart Hall, Gilles Deleuze, Jacques Derrida, Rancière and Luce Irigaray as well as their forebears such as Spinoza, Plato and Freud. Taken together, Choreography and Corporeality: RELAY in Motion puts thought into motion, without forgetting its origins in the social world.

Culture --- Performing arts. --- Cultural and Media Studies. --- Performing Arts. --- Study and teaching. --- Choreography. --- Dance --- Show business --- Arts --- Performance art

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This book renews thinking about the moving body by drawing on dance practice and performance from across the world. Eighteen internationally recognised scholars show how dance can challenge our thoughts and feelings about our own and other cultures, our emotions and prejudices, and our sense of public and private space. In so doing, they offer a multi-layered response to ideas of affect and emotion, culture and politics, and ultimately, the place of dance and art itself within society.The chapters in this collection arise from a number of different political and historical contexts. By teasing out their detail and situating dance within them, art is given a political charge. That charge is informed by the work of Michel Foucault, Stuart Hall, Gilles Deleuze, Jacques Derrida, Rancìere and Luce Irigaray as well as their forebears such as Spinoza, Plato and Freud. Taken together, Choreography and Corporeality: Relay in Motion puts thought into motion, without forgetting its origins in the social world.

Sociology of culture --- Didactics of the arts --- Theatrical science --- performances (kunst) --- theater --- cultuur --- Choreography. --- Dance. --- Chorégraphie --- Danse

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"Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility"--

Copyright --- Dance --- LAW / Intellectual Property / Copyright. --- Choreography --- Law and legislation --- Social aspects --- Droit d'auteur --- Danse --- Chorégraphie --- Droit --- Aspect social --- Chorégraphie --- Arts du spectacle --- LAW --- Propriété intellectuelle --- Choreography. --- Law and legislation. --- Social aspects. --- Aspect social. --- Intellectual Property --- Copyright. --- United States.

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Dit boek biedt een exclusieve kijk in het hoofd en de ziel van Wim Vandekeybus, chereograaf, danser, cineast, fotograaf en totaalkunstenaar. In 2016 bestaat zijn compagnie Ultima Vez dertig jaar, maar nooit eerder werd zijn oeuvre beschreven. Tot nu. 00'Wim Vandekeybus' is een visuele reis langs de krachtigste beelden uit zijn repertoire, en een zoektocht naar de ideeën en thema's die hem inspireren. Ook bevat het onuitgegeven teksten, notities en scripts uit zijn voorstellingen en films. Een aantal 'compagnons de route' zoals David Byrne, Mauro Pawlowski, Peter Verhelst, ... leveren een persoonlijke bijdrage.

dansgezelschappen --- Theatrical science --- hedendaagse dans --- anno 2000-2009 --- anno 1980-1989 --- anno 2010-2019 --- anno 1990-1999 --- Flanders --- choreographers --- dances [performance events] --- Vandekeybus, Wim --- Choreography --- Chorégraphie --- Chorégraphie --- dansexpressie