Relevant bibliographies by topics / Contemporary dance theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Contemporary dance theatre'

Author: Grafiati
Published: 19 February 2023

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Journal articles on the topic "Contemporary dance theatre"

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Kun, Attila. "The Hungarian Dance Theatre Education." Tánc és Nevelés 2, no. 2 (October 13, 2021): 101–13. http://dx.doi.org/10.46819/tn.2.2.101-113.

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The purpose of the paper is to give an overview of dance theatre education related to Hungarian contemporary dances and relying on the results of current and still ongoing research. The paper surveys the embeddedness of participational dance education programmes in the structure of prose/drama theatre education, as well as the historical antecedents of its diverse methodology, its forms of financing throughout times and its activities.
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IWANSKA, ALICJA. "Straight into the Eyes – Jacek Łumiński and the Silesian Dance Theatre(1991-2011)." Journal of Education Culture and Society 3, no. 1 (January 13, 2020): 31–46. http://dx.doi.org/10.15503/jecs20121.31.46.

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The fi nal decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over the intervening twenty years.The aim of this article is to present the artistic and educational activity of the Silesian Dance Theatre of the recent twenty years. In the beginning the author presents a choreographic por-trait of J. Łumiński, the founder and choreographer of the Silesian Dance Theatre, and creator of the Polish contemporary dance technique. Then an analysis of J. Łumiński’s dance style is car-ried out, and the review of the Silesian Dance Theatre’s choreographic attainments is presented.The fi nal part of the article discusses the wide spectrum of educational activities under-taken in the fi eld of contemporary professional dance by theSilesian Dance Theatre, and the phenomenon of the theatre on the Polish stage.
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Volbea, Beatrice. "Contemporary Dance Between Modern and Postmodern." Theatrical Colloquia 8, no. 1 (May 1, 2018): 307–15. http://dx.doi.org/10.2478/tco-2018-0011.

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Abstract As human beings and artists, what we produce, as well as our own selves, are visibly influenced by a complex ensemble of processes that take place around us and, in time, we can actually be regarded as their result. This evolutionary principle also applies to the role that body expression has in the wide specter of arts, including in dramatic dance and dramatic theatre. All along the XXth century and up until the first decade of the XXIst century, new performative genres have developed, for example, under the influence of political, social and cultural theories and philosophies. The result was the evolution of numerous alternative forms, supported by revolutionary theories in the dramatic field and by new approaches towards performance. Among these, we can find concepts like physical theatre, total theatre and dance theatre, all of them focusing on body expression. A notable aspect of these changes is the fact that they share the recurrent idea of a fusion between different artistic forms, incorporating dance, dramatic play and other theatrical elements in the creative processes and their outputs.
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Kleinschmidt, Katarina. "Ungoverning Dance: Contemporary European Theatre Dance and The commons." Documenta 35, no. 1 (May 8, 2020): 234–41. http://dx.doi.org/10.21825/doc.v35i1.16434.

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DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (October 2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.

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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuong; Vietnamese cheo theatre, Cham dance, French realism, Soviet constructivism and socialist realism, and most recently, western performance art. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese. It is argued that these manifold layers should be regarded as a kind of palimpsest rather than just as pastiche.
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Einasto, Heili, and Evelin Lagle. "Path Dependency in Theatre Funding." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 55–71. http://dx.doi.org/10.7146/nts.v30i1.106923.

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Estonian contemporary dance emerged in the early 1990s outside established theatre institutions. Since then, it has existed in a project-based format, which means that though dance artists can receive funding for preparing projects, there is no financial support for facilities needed for everyday practice outside or between the projects. The type of venues available for practicing contemporary dance has an impact on choreographic practice presented for the public, even if that dimension often remains invisible.Funding policy, like other policies, is greatly affected by the historical legacy of a particular policy (that is, path dependent), and the same can be claimed about choreographic practice. Therefore, in order to understand why a certain policy or practice prevails and is resistant to change even if it becomes problematic, it is necessary to look at the beginning of the path. In the present article, the history of theatre and dance funding in Estonia is taken as an example to discuss how that history affects the present in terms of choices by dance practitioners. Though Estonia is taken as an example, the situation is far from unique and therefore can serve as a case for analyzing similar situations in other countries.
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Jonīte, Dita. "CHOREOGRAPHER IN CONTEMPORARY THEATRE: THE CASE OF LATVIA." Culture Crossroads 21 (December 28, 2022): 66–78. http://dx.doi.org/10.55877/cc.vol21.272.

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As the paradigm of dramatic theatre has changed and the genre of contemporary dance has evolved, a new approach to theatrical choreography has emerged. In Latvia, a new generation of contemporary dance choreographers has been active for two decades. They have significantly influenced both the aesthetics of their productions and developed the degree of the participation and co-responsibility in dramatic actors. By working together with contemporary dance choreographers, some actors and directors have changed their attitudes toward their body, its role, and the meaning of their movements. There is a growing awareness of how much time, effort, and precision would be required for smart and valuable choreography. This is a new experience and an opportunity for dramatic theatre. To delve deeper, Ben Spatz, researcher and theorist of embodied practice, through his research encourages artists to focus on the process of exploring the body rather than endlessly developing technical virtuosity. While the director is still primarily responsible for the staging, the work of the rest of the creative team is often of equal importance. According to the postdramatic theatre theory of German theatre scholar Hans-Thies Lehmann and the performing arts scholar Erika Fischer-Lichte, this is related to a general tendency in the contemporary theatre – the focus is set on living, immediate relationship between theatre and audience, and in this contemporary art discourse the choreographer plays a very important role.
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Jonīte, Dita. "Horeogrāfa stratēģijas mūsdienu teātrī: Agates Bankavas piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 259–68. http://dx.doi.org/10.37384/aplkp.2020.25.259.

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During the last two decades, contemporary dance choreographers of Latvia have been more and more intensely involved in staging dramatic theatre performances. This observation has served as a basis for my research question: if and how the stage movement paradigm has changed in the dramatic theatre due to the input of professional contemporary dance choreographers. The increase of the choreographer’s competency and responsibility is related to the paradigmatic change in the theatre in general. Hans-Thies Lehmann, the distinguished German theatre theorist, has developed his post-dramatic theatre theory (Lehmann 2006) that promotes focusing on a live and direct relationship between theatrical performances and their audience. As a result, despite that the director still takes on the main responsibility for the staging, the input of other members of the creative team often equates with the director’s share of creative work. The text of the play in contemporary theatre is often regarded as one of the elements creating the stage work alongside the scenography, music, light design, video projection, etc. In this interdisciplinary kind of art, the choreographer plays an equal role by developing both individual performers and the whole ensemble, thus striving for the most matching and expressive psycho-physical stage presence of the performers. In my contribution, I have focused on Agate Bankava (b. 1991) as one of the most productive new generation contemporary dance choreographers. She regularly works both at theatrical and contemporary dance projects as well as for different interdisciplinary contemporary art performances. To characterize her work, I have described the strategies she uses following the principles Agate Bankava has stated as the basis for her work: high professional standards combined with a wise and intelligent thought pattern, consequently leading towards a comprehensive and sophisticated artwork that simultaneously preserves a link to reality.
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Siegmund, Gerald. "Ramsey Burt, Ungoverning Dance. Contemporary European Theatre Dance and the Commons." Dance Research 35, no. 2 (November 2017): 277–78. http://dx.doi.org/10.3366/drs.2017.0207.

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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Dissertations / Theses on the topic "Contemporary dance theatre"

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Theodoridou, Danae. "Short (research) stories : drama and dramaturgy in experimental theatre and dance practices." Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.

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This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.
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Sommerlade, Kristine. "Identity, knowledge and ownership : contemporary theatre dance artists in the UK's creative economy." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25866/.

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This thesis examines contemporary theatre dance artists' economic conduct to fill a gap in knowledge in current dance scholarship. It seeks to identify economic competencies and behaviours which dance artists employ in their work lives. Furthermore, it explores to what extent the theatre dance field's senior representatives are influential in shaping these competencies and behaviours. It also investigates the relationship between dance artists' economic conduct and their artistic and financial status, in and outside of theatre dance. The thesis's central hypothesis is that dance artists approach their artistic practice(s) and related economic circumstances and behaviours as interrelated value spheres, despite publicly upholding their separateness. An empirical ethnographic investigation, which has involved twenty-two research participants, underpins the thesis's argument. By utilising interviews, community reviews and the embodied presence of the researcher in the field, the study's methodology has aimed to create a more level playing field between the researcher and participants. In addition, it draws on commissioned governmental and independent reports which document and debate New Labour's cultural policies between 1997 and 2010. This study's economic perspective on its research field has been absent in previous key studies. It calls into question idealised perceptions held by many about dance artists as labourers and theatre dance as a work field. To achieve its goals, the study, firstly, provides insights about dance artists' livelihood systems which emphasise that they employ distinct economic strategies and engage expertly with multiple value economies. Secondly, it reveals that New Labour's cultural policies inadvertently disrupted the theatre dance sector's central value-generating mechanisms. In doing so, they destabilised the secondary dance-related labour market and affected dance artists' ability to self-fund their practice. Thirdly, the thesis underlines that cultural policymakers by disregarding dance artists' livelihood systems delivered unexpected outcomes which contradicted their expressed goals.
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Pratt, Angela. "ask dance theatre : Christian worldview and the creative process." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15881/1/Angela_Pratt_Thesis.pdf.

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Professional dance companies which reflect a Christian worldview are slowly emerging within the dance community, but this is territory which is generally uncharted academically, especially in Australia. Consequently, this paper is an ethnographic study of an Australian professional dance company of this kind. ask dance theatre is a professional dance company located in Sydney. Established in February 1999, it has three key personnel - Phillippa-Oakden Patch (artistic director/ choreographer/dancer), Hannah Horsley Cooper (choreographer/dancer) and Steve Cooper (composer/musician). Developing a philosophy based on a biblical worldview, one of the company's aims is to provide a "nurturing environment for artists of different disciplines to grow artistically and spiritually while creating dance theatre works". This has involved working collaboratively, incorporating dancers, singers, musicians, visual artists and actors, to create original works which have been performed at major contemporary dance and Christian arts events in New South Wales, Australia. Through the ethnographic methods of participant observation, interviewing and document analysis, details of this company's worldview as a group of "committed Christians" and their creative process was researched. This paper focuses on the description, analysis and interpretation of their creative process in the production of a new work during the first six months of 2001, identifying how their Christian worldview is reflected in their creative process.
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Pratt, Angela. "Ask Dance Theatre: Christian Worldview And The Creative Process." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15881/.

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Professional dance companies which reflect a Christian worldview are slowly emerging within the dance community, but this is territory which is generally uncharted academically, especially in Australia. Consequently, this paper is an ethnographic study of an Australian professional dance company of this kind. ask dance theatre is a professional dance company located in Sydney. Established in February 1999, it has three key personnel - Phillippa-Oakden Patch (artistic director/ choreographer/dancer), Hannah Horsley Cooper (choreographer/dancer) and Steve Cooper (composer/musician). Developing a philosophy based on a biblical worldview, one of the company's aims is to provide a "nurturing environment for artists of different disciplines to grow artistically and spiritually while creating dance theatre works". This has involved working collaboratively, incorporating dancers, singers, musicians, visual artists and actors, to create original works which have been performed at major contemporary dance and Christian arts events in New South Wales, Australia. Through the ethnographic methods of participant observation, interviewing and document analysis, details of this company's worldview as a group of "committed Christians" and their creative process was researched. This paper focuses on the description, analysis and interpretation of their creative process in the production of a new work during the first six months of 2001, identifying how their Christian worldview is reflected in their creative process.
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Dixon, Tennessee. "PROJECTION DESIGN FOR A CONTEMPORARY DANCE WORK BY IVÁN ANGELUS IN HUNGARY." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2536.

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The purpose of this thesis is to document and analyze my projection design for a new dance piece, "VŰ", directed by Angelus Iván and staged at Trafó in Budapest, Hungary. Included is an account of the design process, the concept and projection development described scene by scene, execution, performance and evaluation. The paper ends with reflections on the relatively new field of image projections, and my professional goals in scenic design.
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Kim, Sang Kyung. "Physical dance performance : an investigation into the development of a performance technique based on the integration of certain Korean dance technique and contemporary Western styles of dance and physical theatre." Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/4843.

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This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.
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Dyson, Clare Marie. "Performing the unutterable : mapping the experiential in contemporary dance." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41750/1/Clare_Dyson_Thesis.pdf.

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This research project looks to engage audiences in a variety of experiential ways by reexamining and manipulating the traditional presentation paradigm for viewing Western contemporary dance. It considers how the audience may be situated in the creation and presentation of contemporary dance generally, and specifically in the work The Voyeur, which researched these issues in action. By situating the body of the audience member as a site of understanding and meaning making, this practice-based research considers the audience within the artists’ creative process from the inception of a creative work, rather than after the work has been created. The research questions how a ‘lived experience’ of contemporary dance could be deepened for the audience. It presents a series of ‘tools’ to create alternative frameworks of presentation that challenge the dominant modes of creation, presentation and meaning making in contemporary dance. The five tools established and applied in this research are: site, liminality, agency, proximity and performer authenticity. These tools are framed as a series of calibrated scales that allow choreographers to map decisions made in the studio in relation to potential audience engagement. These scales have the ability to house multiple presentation formats from the traditional to the avant garde and open up possibilities for broad analysis of a wide range of artistic dance works.
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Robinson, Raymond Stanley, of Western Sydney Nepean University, and of Social Community and Organisational Studies School. "Dreaming tracks : history of the Aboriginal Islander Skills Development Scheme, 1972-1979 : its place in the continuum." THESIS_XXX_SCOS_Robinson_R.xml, 2000. http://handle.uws.edu.au:8081/1959.7/76.

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Dreaming Tracks was chosen for the title of this history because of its reference to the journeys and routes taken by the ancestral founders of each of the extended family clans. As they travelled they recorded the events and situations they encountered along the way , which they left in story, painting, song lines and dances for the future survival of their people. The history of the Aboriginal/Islander Skills Development Scheme also pertains to a journey. This journey records the events that brought about the establishment of the longest surviving, urban Indigenous dance organization. It's a voyage that identifies the obstacles and accomplishments of its founding members, who dedicated themselves to the hard work to ensure the continuum of Aboriginal and Torres Strait Islander dance. It was their dream, to have an Australian Black Dance Company that would create a link between past and present, traditional and urban. The pathways they created equipped urban Indigenous Australians with a unique dance identity of their own, and established the path to continued contact with the traditional owners. Dreaming Tracks is contemporary Dreaming lore that begins with the contention for land rights in the early 1970's and follows the progress of the Aboriginal/Islander Skills Development Scheme to the end of the decade. It records the desires, dreams and conflicts that brought this organization into being. In parallel, the concerns of the founder, Carole Y. Johnson, sets the path for the journey, which by the end of the twentieth-century witnessed the establishment of an accredited dance course, two dance companies (The Aboriginal/Islander Dance Theatre and Bangarra Dance Theatre, Australia) and students who are key participants in the artistic design of the 2000 Olympics in Sydney Australia
Master of Arts (Hons) (Performance)
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Blogg, Martin Howard. "Efficacy and the Arts with Special Reference to Contemporary Dance Theatre: The Ethical, Aesthetic and Spiritual - A Performative Discourse a view from Within: a Reflective Practitioner’s Revisionary Point of View." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365923.

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In that every form of knowing represents a way of en-acting, relating and being-in-the- world, every form of knowing has an ethical dimension and concerns efficacy. Contemporary research points to significant gaps in relation to the way the arts are presently perceived and justified. In the minds of many the arts have failed to develop an adequate public conception of their true significance. This thesis seeks to re-present, re-ground and re-vision the way we think about the arts; have the arts, and dance more specifically, re-cognized and re-legitimized in terms of their intrinsic and ethical nature, their own ‘form of life’. Today we think of the performing arts primarily in terms of entertainment and recreation, with little significance other than providing ephemeral and escapist pleasure, a gloss upon the surface of life, a harmless indulgence – one driven in the main by economics and politics rather than the internal and ethical energies of the forms themselves. Along with such authors as Abbs (1996, p.29), I see the arts as ‘indispensable vehicles for the development of human consciousness; a primary quest for meaning and understanding, apprehending and exploring reality’; at their most profound and typical, formally heuristic rather than merely hedonistic; and, ‘far from escaping life [they] have a way of drawing us into life, allowing us to participate more immediately and deeply in the basic stuff and process of life’ (Westerhoff 1981a, pp.5–15), re-minding artists and arts audiences, arts legislators and educators that beyond the functional and material there exists, as has always existed, a close alliance between aesthetic knowing and spiritual knowing; ‘an alliance not dictated merely by historical accident or practical need but one rooted in the very essence of both’ (Pope John Paul II 1999).
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Neideck, Jeremy. "The fabric of transcultural collaboration: Interweaving the traditional Korean vocal form of p'ansori and the contemporary Japanese dance form of butoh in a transculturally Australian context." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93720/1/Jeremy_Neideck_Thesis.pdf.

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This practice-led research investigated the negotiation processes informing effective models of transcultural collaboration. In a creative project interweaving the image-based physicality of the Japanese dance form of butoh with the traditional Korean vocal style of p'ansori, a series of creative development cycles were undertaken with a team of artists from Australia and Korea, culminating in Deluge, a work of physical theatre. The development of interventions at 'sites of transcultural potential' resulted in improvements to the negotiation of interpersonal relationships and assisted in the emergence of a productive working environment in transculturally collaborative artistic practice.
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Books on the topic "Contemporary dance theatre"

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Sörgel, Sabine. Contemporary African Dance Theatre. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3.

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Mary, Clarke. London Contemporary Dance Theatre: The first 21 years. London: Dance Books, 1989.

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Contemporary French theatre and performance. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2011.

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Mansfield, Richard. Additional notes on the current repertoire of London Contemporary Dance Theatre - 1985. London: London Contemporary Dance Theatre, 1985.

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Drower, Cara. Cecchetti training: Tradition for the future? : an investigation into the relevance of the Cecchetti heritage to contemporary and future British training in theatre dance. [Guildford]: University of Surrey, 1998.

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Performing Asian America: Race and ethnicity on the contemporary stage. Philadelphia: Temple Univ. Press, 1997.

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Mariotti, Marcella, Maria Roberta Novielli, Bonaventura Ruperti, and Silvia Vesco. Rethinking Nature in Post-Fukushima Japan. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-264-2.

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This volume brings together the papers presented at the international symposium Rethinking Nature in Contemporary Japan: Facing the Crisis held at Ca’ Foscari University of Venice in March 2015, as the last of a three-years research project on post-Fukushima Japan funded by the Japan Foundation. The book focuses on Religion and Thought, Fine Arts, Music, Cinema, Animation and Performing Arts (Theatre and Dance), from a multidisciplinary perspective.
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8

The fairy tale revisited: A survey of the evolution of the tales, from classical literary interpretations to innovative contemporary dance-theater productions. New York: Peter Lang, 1994.

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9

Lindfors, Viveca. I am a woman. New York, N.Y: Applause Theatre Book Publishers, 1990.

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Hutchison, Yvette, and Chukwuma Okoye, eds. African Theatre: Contemporary Dance. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443150.

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Book chapters on the topic "Contemporary dance theatre"

1

Sörgel, Sabine. "This Is Not a Book About African Dance." In Contemporary African Dance Theatre, 1–13. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3_1.

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Sörgel, Sabine. "Sources and Vocabularies of Contemporary African Dance Theatre Aesthetics." In Contemporary African Dance Theatre, 15–49. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3_2.

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Sörgel, Sabine. "White Supremacy, Necropolitics and Anti-Capitalist Dance." In Contemporary African Dance Theatre, 51–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3_3.

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Sörgel, Sabine. "Mistaken Identity: Deconstructing White Beauty and Gender Politics." In Contemporary African Dance Theatre, 89–128. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3_4.

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Sörgel, Sabine. "Collaborative Blindness: Funding, Failure and the Ethics of Collaboration." In Contemporary African Dance Theatre, 129–51. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3_5.

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Sörgel, Sabine. "This Is a Book About Whiteness and the Gaze." In Contemporary African Dance Theatre, 153–57. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41501-3_6.

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Shank, Theodore. "Contemporary American Dance Theatre: Clarke, Goode and Mann." In Contemporary American Theatre, 205–26. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_12.

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Rosa, Cristina. "Neoliberalism and contemporary dance in Brazil." In Neoliberalism, Theatre and Performance, 67–88. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429199974-4.

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McGrath, Aoife. "The Dance of Affect in Contemporary Irish Dance Theatre." In The Palgrave Handbook of Contemporary Irish Theatre and Performance, 667–82. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_47.

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Meehan, Emma. "Revisiting Lunar Parables: Dublin Contemporary Dance Theatre and the Intangible Archive." In Dance Matters in Ireland, 19–37. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66739-3_2.

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