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Books on the topic 'Contemporary dance theatre'

Author: Grafiati
Published: 19 February 2023

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1

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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2

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

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3

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

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4

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

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5

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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6

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

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7

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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10

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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11

African Theatre 17: Contemporary Dance. Boydell & Brewer, Limited, 2018.

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12

Okoye, Chukwuma, Yvette Hutchison, and 'Funmi Adewole. African Theatre 17: Contemporary Dance. Boydell & Brewer, Limited, 2018.

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13

Richard, Mansfield, and National Resource Centre for Dance., eds. London Contemporary Dance Theatre, 1967-1975. National Resource Centre for Dance, 1985.

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14

Burt, Ramsay. Ungoverning Dance: Contemporary European Theatre Dance and the Commons. Oxford University Press, Incorporated, 2016.

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15

Ungoverning Dance: Contemporary European Theatre Dance and the Commons. Oxford University Press, 2016.

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16

Krisztina, Baba (. preface). Feluton - Contemporary Theatre and Dance in Hungary. (Handset By T. G. Miller), 1993.

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17

Gilpin, Heidi. Pina Bausch and the Contemporary German Dance Theatre. Berg Publishers Ltd, 1990.

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18

The Essential Inheritance of the London Contemporary Dance Theatre. Dance Books Ltd, 2004.

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19

Sorgel, Sabine. Contemporary African Dance Theatre: Phenomenology, Whiteness, and the Gaze. Springer International Publishing AG, 2020.

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20

Sörgel, Sabine. Contemporary African Dance Theatre: Phenomenology, Whiteness, and the Gaze. Springer International Publishing AG, 2021.

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21

Lavery, Carl, and Clare Finburgh. Contemporary French Theatre and Performance. Palgrave Macmillan, 2011.

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22

Aston, Elaine, and Gabriele Griffin. Pulp (Routledge Harwood Contemporary Theatre Studies). Routledge, 1996.

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23

Elaine, Aston, and Gabriele Griffin. Curfew (Routledge Harwood Contemporary Theatre Studies). Routledge, 1996.

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24

Cohan, Robert, writer of added commentary, ed. The last guru: Robert Cohan's life in dance : from Martha Graham to London Contemporary Dance Theatre. 2013.

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25

Gunnarsdottir, Agusta, and Leigh Woods. Public Selves and Political Stages (Routledge Harwood Contemporary Theatre Studies). Routledge, 1997.

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26

Elaine, Aston, G. Griffin, and Gabriele Griffin. Pulp and Other Plays by Tasha Fairbanks (Routledge Harwood Contemporary Theatre Studies). Routledge, 1996.

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27

Pakes, Anna. Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.001.0001.

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Focusing on Western theatre dance, Choreography Invisible explores the metaphysics of dances and choreographic works. It draws on a range of resources from analytic philosophy of art to develop the argument that dances are repeatable structures of action. The book also analyses the idea of the dance work in long-term historical perspective. Tracing different ways in which dances have been conceptualised across time, the book considers changing notions of authorship, fixity, persistence, and autonomy from the fifteenth century to the present day. The modern work-concept is interrogated, its relativity and contested status (particularly within contemporary dance practice) acknowledged. As the dance work disappears from contemporary discourse, what can be said about the kind of thing it is? Choreography Invisible considers the materials of dance making and the nature (and limits) of choreographic authorship. It explores issues of identity and persistence, including why distinct (and sometimes quite various) performances are still treated as performances of the same work. The book examines how dances survive through time and what it means for a dance work to be lost, considering the extent to which practices of dance reconstruction and reenactment can recuperate or reconstitute lost choreography. The focus here is dance, but the book addresses issues with wider implications for the metaphysics of art, including how the historical relativity of art practices should inflect analytic arguments about the nature of art works, and what place such works have within a broader ontology of human and natural worlds.
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28

Pouillaude, Frédéric. Unworking Choreography. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.001.0001.

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There is no archive or museum of human movement where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. This book develops this idea and postulates a désoeuvrement (unworking) as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works (and developing a philosophical theory of dance identity) given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of “ends” of dance in contemporary practice and the relativization of the very idea that dance artistic or choreographic processes aim at work production.
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29

Kaduri, Yael, ed. The Oxford Handbook of Sound and Image in Western Art. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.001.0001.

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This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it—together with sound, voice, and text—to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema.
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30

Performing Asian American: Race and Ethnicity on the Contemporary Stage (Asian American History and Culture). Temple University Press, 1998.

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31

Rabinowitz, Stanley J., ed. And Then Came Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943363.001.0001.

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Here for the first time in English are freshly translated essays on famous women in the arts, in contemporary Russian life, and especially in the world of classical dance written by Russia’s foremost ballet critic of his day, Akim Volynsky (1861–1926). Volynsky’s depiction of the body beautiful onstage at St. Petersburg’s storied Maryinsky Theater is preceded by his earlier writings on women in Leonardo da Vinci, Dostoevsky, and Otto Weininger, and on such illustrious female personalities as Zinaida Gippius, Liubov Gurevich, Ida Rubinstein, and Lou Andreas-Salome. Volynsky was a man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation, which crossed over into the personal and libidinal. His career looks ahead to another Petersburg-bred “high priest” of classical dance, George Balanchine; indeed, with their undeniable proclivity toward ballet’s female component, Volynsky’s dance writings, illuminated here by examples of his earlier “gendered” criticism, invite speculation on how truly groundbreaking and forward-looking this understudied critic is.
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32

Wetmore, Kevin J. Jesuit Theater and Drama. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935420.013.55.

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The historic Jesuit theater represents two centuries of didactic theater in which the Society of Jesus, following both the organizational instructions andSpiritual Exercisesof founder Ignatius of Loyola, used theater to inculcate virtue in both performer and audience member while teaching Latin, dance, poise, rhetoric, oratory, and confidence to the students who performed. Jesuit spirituality is inherently theatrical, and conversely Jesuit theater was intended to also be highly spiritual. The dramaturgy and scenography was spectacular and designed to draw audiences who would delight in them and learn the moral lessons the Jesuits hoped to teach while simultaneously drawing them away from a corrupt public theater. This essay considers Jesuit drama and theater in four key aspects: (1) Jesuit spirituality and performative practice; (2) the historic Jesuit educational theater of early modern Europe; (3) Jesuit drama in the missions outside of Europe; and (4) contemporary Jesuits involved in theater.
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33

Murray, Sean. That “Weird and Wonderful Posture”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.41.

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Sometime in the late 1820s to early 1830s, a little-known white theatre performer named Thomas Dartmouth Rice modeled a blackface song and dance on a “crippled Negro”; his performances of “Jump Jim Crow” became extraordinarily popular in pre–Civil War America. The extensive literature on these performances has generally been silent on two key characteristics of the phenomenon: the importance of “audience” performance to the act’s popularity and reception and the fact that the pleasure of jumping “Jim Crow” was rooted in the spectacular performance of disability by presumably able-bodied people: usually white and usually male. This essay demonstrates that blackface performance almost always involved performances of disability (physical and cognitive), which constructed both privileged white citizens and stigmatized defective Negroes, unworthy of citizenship. As such, they participated in contemporary discourses about citizenship in which race and disability play central and deeply entwined roles.
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34

Horowitz, Gregg. Aesthetics of the Avant-Garde. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0045.

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All responsible inquiry into the contemporary state of avant-garde art must acknowledge the possibility that no such art exists. Such non-existence would be dismaying news for a lot of people because, despite the possibility that the concept refers to nothing, many writers and artists continue to invest in it as if its capacity to illuminate contemporary artistic and aesthetic practices were a given. If one inclines towards believing that there was an American avant-garde in those years, one is likely to find that Sayre's roster of participating figures includes the expected artists and movements: Carolee Schneeman and Robert Morris, Judy Chicago and Robert Smithson, Fluxus and the Judson Dance Theater, and so on.
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35

Cvejic, Bojana. Problem as a Choreographic and Philosophical Kind of Thought. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.43.

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This chapter accounts for a distinctive kind of thought, born in and through European dance since the mid-1990s, which has thoroughly transformed choreography and performance by reinventing performed relations between the body, movement, and time under the theme of “problems.” The practice of this thought is rooted in the problematization of specific concerns within contemporary theater dance, such as the body-movement bind with respect to expression and form, improvisation and processuality, or spectatorship. Most important, its forte lies in introducing a method of creation by way of problem-posing, which merits philosophical attention. Choreographing problems involves composing ruptures between movement, the body and duration in performance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems “force” thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza’s philosophy.
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36

Richman, Paula, and Rustom Bharucha, eds. Performing the Ramayana Tradition. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552506.001.0001.

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Performing the Ramayana Tradition: Enactments, Interpretations, and Arguments, edited by Ramayana scholar Paula Richman and Rustom Bharucha, scholar of Theater and Performance Studies, examines diverse retellings of the Ramayana narrative as interpreted and embodied through a spectrum of performances. Unlike previous publications, this book is neither a monograph on a single performance tradition nor a general overview of Indian theater. Instead, it provides context-specific analyses of selected case studies that explore contemporary enactments of performance traditions and the narratives from which they draw: Kutiyattam, Nangyarkuttu, and Kathakali from Kerala; Kattaikkuttu and a “mythological” drama from Tamil Nadu; Talamaddale from Karnataka; avant-garde performances from Puducherry and New Delhi; a modern dance-drama from West Bengal; the monastic tradition of Sattriya from Assam; anti-caste plays from North India; and the Ramnagar Ramlila. Apart from the editors’ two introductions, which orient readers to the history of Ramayana narratives by Tulsidas, Valmiki, Kamban, Sankaradeva, and others, as well as the performance vocabulary of their enactments, the volume includes many voices, including those of directors, performers, scholars, connoisseurs, and the scholar-abbot of a monastery. It also contains two full scripts of plays, photographs of productions, interviews, conversations, and a glossary of Indian terms. Each essay in the volume, written by an expert in the field, is linked to several others, clustered around shared themes: the politics of caste and gender, the representation of the anti-hero, contemporary reinterpretations of traditional narratives, and the presence of Ramayana discourse in everyday life.
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37

Trezise, Rachel, Jeff Teare, Maria Donavan, and Sarah Boughton. Sideways Glances: Webart and Physical Theatre, Storytelling, Visual and Itinerant Art, Indian Dances - Exploring the art of five off-center artists in Wales (United Kingdom). Parthian, 2005.

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38

Austin, Paul, and Viveca Lindfors. I Am a Woman: The Journey of One Woman and Many Women. Applause Books, 2000.

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39

Lindfors, Viveca. I Am a Woman. Natalie Slohm Assoc, 1986.

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40

Meade, Rosie, and Mae Shaw, eds. Arts, Culture and Community Development. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781447340508.001.0001.

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This edited collection profiles the sites and subjects of arts practices in different geographical contexts, including Hong Kong and mainland China, India and Sri Lanka, Finland, Chile, Brazil, Lebanon, Mexico, the USA, Germany, Canada, the UK, and Ireland. Chapters capture how collective hopes, fears, allegiances, frustrations, and memories, are sung, danced, played, etched on walls, or conveyed through puppets and theatre. Contributors to the volume thus draw attention to some of the diverse ways that groups of people collectively make sense of, re-imagine or seek to change the personal, cultural, social, economic, political, or territorial conditions of their lives, while using the arts as their means and spaces of engagement. Across its chapters, the book explores a number of broad themes and questions. How can we conceptualise the relationship between community development and arts/cultural practice? What diverse forms does this relationship take in contemporary contexts? How do communities of people engage with, utilise, make sense of and through particular artforms and media? How can we understand the aesthetic and associated meanings of such engagements? How are the power dynamics related to authorship, resources, public recognition, and expectations of impact negotiated within community-based arts processes? How do economistic and neoliberal rationalities influence arts processes and programmes in community contexts? Together, the chapters also critically interrogate if, and how, dominant rationalities are being resisted and challenged through arts practices.
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41

Lodge, Mary Jo, and Paul R. Laird, eds. Dueling Grounds. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938840.001.0001.

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Hamilton opened on Broadway in 2015 and quickly became one of the hottest tickets the industry has ever seen. Lin-Manuel Miranda—who wrote the book, lyrics, and music, and created the title role—adapted the show from Ron Chernow’s biography Alexander Hamilton. Although it seems an unlikely source for a Broadway musical, Miranda created a liminal space where Alexander Hamilton, and his legacy, over two hundred years after his death, grapple with contemporary American life and values, and indeed with history itself. With a score largely based on rap and drawing on other aspects of hip-hop culture, and staged with actors of color playing the white Founding Fathers, Hamilton has much to say about race in the United States today and in our past, but at the same time it leaves important things insufficiently examined, particularly the role of women and people of color in Hamilton’s time. Dueling Grounds: Revolution and Revelation in the Musical Hamilton is a volume that combines the work of theater scholars and practitioners, musicologists, and scholars in such fields as ethnomusicology, history, gender studies, and economics in a multi-faceted approach to the show’s varied uses of liminality, looking at its creation, casting philosophy, dance and movement, costuming, staging, direction, lyrics, music, and marketing, and how aspects of race, gender, and class fit into the show and its production. Demonstrating that there is much to celebrate, as well as challenging issues to confront concerning Hamilton, Dueling Grounds is an uncompromising look at one of the most important musicals of the century.
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42

Austin, Paul, and Viveca Lindfors. I Am a Woman: The Journey of One Woman and Many Women. Leonard Corporation, Hal, 2000.

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43

Austin, Paul, and Viveca Lindfors. I Am a Woman: The Journey of One Woman and Many Women. Leonard Corporation, Hal, 2000.

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44

Austin, Paul, and Viveca Lindfors. I Am a Woman: The Journey of One Woman and Many Women. Leonard Corporation, Hal, 2000.

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