Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period and explores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius. The volume is divided into two parts: while the second part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of cultural expression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not only to the highly encoded genre of pantomime, which dominated the stage in the Roman Empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volume defends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not: a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience.

Dance --- Dance in literature --- Dancing in literature --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- History --- E-books --- Civilization, Greco-Roman. --- History. --- Anthropological aspects --- Civilization, Greco-Roman

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book addresses the need for critical scholarship about contemporary dance practices in Ireland. Bringing together key voices from a new wave of scholarship to examine recent practice and research in the field of contemporary dance, it examines the excitingly diverse range of choreographers and works that are transforming Ireland’s performance landscape. The first section provides a chronologically-ordered collection of critical essays to ground the reader in some of the most important issues currently at play in contemporary dance in Ireland. The second section then provides an interrogation of individual choreographers’ processes. The book traces new choreographic work and trends through a broad array of topics, including somatics in performance, screendance, cultural trauma, dance archives, affect studies, feminist perspectives, choreographic process, the dancer’s voice, interdisciplinarity, and pedagogical paradigms.

Dance --- Social aspects --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- Dance. --- Performing arts. --- Performing Arts. --- Show business --- Arts --- Performance art

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York's Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Redefining the kinds of movement that could count as dance, the Judson participants- Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann and Elaine Summers, among others- would go on to profoundly shape all fields of art in the second half of the 20th century. They employed new compositional methods to strip dance of its theatrical conventions, incorporating "ordinary" movements- gestures typical of the street or home, for example, rather than a stage- into their work, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity. Published in conjunction with an exhibition at the Museum of Modern Art, 'Judson Dance Theater: The Work Is Never Done' highlights the workshop's ongoing significance. "In the early 1960s, an assembly of choreographers, visual artists, composers, and filmmakers made use of a church in New York's Greenwich Village to present performances that redefined the kinds of movement that could be understood as dance--performances that Village Voice critic Jill Johnston would declare the most exciting in a generation. The group was Judson Dance Theater, its name borrowed from Judson Memorial Church, the socially engage Protestant congregation that hosted the dancers' open workshops. The Judson artists emphasized new compositinoal methods meant to strip dance of its theatrical conventions and foregroudned 'ordinary' movements--gestures more likely to be seen on the street or at home. Although Judson Dance Theater would only last a few years, the artists affiliated with it, including Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, Ruth Emerson, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, and Elaine Summers, would challenge choreographic conventions and profoundly shape art making across various fields for decades to come. 'Judson Dance Theater: The Work Is Never Done' includes newly commissioned essays that highlight the history of Judson Dance Theater and its legacy in our own time. Published in conjunction with an exhibition at the Museum of Modern Art, New York, this lushly illustrated volume charts the development of Judson through photographs, film stills, choreographic scores, architectural drawings, and other archival materials, as it celebrates the group's multidisciplinary and collaborative ethos and its reverberant achievements."

Judson Dance Theater --- Modern dance --- Postmodern dance --- Avant-garde (Aesthetics) --- 793.07 --- Judson Dance Theater ; Greenwich Village, Manhattan New York City ; 1962-1964 --- Beeldende kunst, dans en muziek --- Avant-garde performances ; dans --- Aesthetics --- Modernism (Art) --- Dance --- Interpretive dancing --- Modern dancing --- Dans ; choreografen --- Judson Dance Theatre --- History --- Criticism and interpretation. --- Themes, motives. --- Exhibitions

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

How might spoken words be translated into choreography? This book addresses the field of verbatim dance-theatre, around which there is currently limited existing scholarly writing. Grounded in extensive research, the project combines dance studies and performance studies theory, detailed analysis of professional choreographic work and examples of experimental practice to then employ the framework of translation studies in order to consider what a focus on movement and an attempt to dance/move other people’s words can offer to the field of verbatim theatre. It investigates ways to understand, articulate and engage in the process of choreographing movement as a response to verbatim spoken language. It is directed at an international audience of dance studies scholars, theatre and performance studies scholars and dance-theatre practitioners, and it would be appropriate reading material for undergraduate students seeking to develop their understanding of choreographic processes that use written/spoken text as a starting point and graduate students working in the area of adaptation, verbatim theatre, physical theatre or devised theatre.

Dance --- Research. --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- Dance. --- Performing arts. --- Theater. --- Performing Arts. --- Contemporary Theatre. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Acting --- Actors --- Show business --- Arts --- Performance art

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

African dance is discussed here in its global as well as local contexts as a powerful vehicle of aesthetic and cultural exchange and influence.

Dance --- Modern dance --- Interpretive dancing --- Modern dancing --- Aesthetics. --- African Dance. --- African Interculturalism. --- African Literature. --- African Theatre & Performance. --- African Theatre 17: Contemporary Dance. --- African Theatre. --- African culture. --- African dance. --- African interculturalism. --- African performance. --- African society. --- African writing. --- Chukwuma Okoye. --- Contemporary Dance. --- Development. --- Disavowed Issues. --- F.O.D. Gang. --- Featured Articles. --- Gender Perspectives. --- Gender. --- Indigenous Dance Forms. --- Interculturalism. --- Jane Plastow. --- Lunatic!. --- Playscript. --- Postcolonial. --- Sexuality. --- Site-specific Street Performance. --- Socio-political Impact. --- Thoko Zulu. --- Yvette Hutchison. --- Zimbabwean Playwright. --- artistic expressions. --- contemporary African cinema. --- cultural exchange. --- cultural impact. --- gender diversity. --- gender identities. --- gender perspectives. --- global context. --- interculturalism. --- literary analysis. --- queer studies. --- representation.