To see the other types of publications on this topic, follow the link: Contemporary dance theatre.
Journal articles on the topic 'Contemporary dance theatre'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Contemporary dance theatre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full text
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full text
10
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.
Full textAbstract:
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.
11
Wiley, Roland John. "Dances in Opera: St. Petersburg." Dance Research 33, no. 2 (November 2015): 227–57. http://dx.doi.org/10.3366/drs.2015.0139.
Full textAbstract:
In Russia opera dances emerged in the eighteenth century, distinguishing themselves from other theatre works that included dance; the most important works and composers of this period will be summarized. As a repertoire of continuing interest, opera dances began with those of Mikhail Glinka in 1836 and 1842. Problems of studying the opera dances since then, including local practice, faulty scholarship and press criticism, will be identified. The principal makers of opera dances in Russia are introduced next together with their accomplishments, not least in light of so-called theatre reforms of the early 1880s, which favored opera over ballet proper. Finally, selected opera dances from Glinka to Tchaikovsky are analysed, with elaborations from historical records and the contemporary press.
12
Bezsán, Noémi. "Az erdélyi táncszínház előzményei a 20. században." Theatron 14, no. 2 (2020): 92–102. http://dx.doi.org/10.55502/the.2020.2.92.
Full textAbstract:
The development of the contemporary Romanian dance scene and the emergence of the network of Transylvanian dance theatre are two unrelated series of events. In my paper, in addition to examining the precedents in the field of dance arts, I will conduct a comparative analysis of the appearance, the spread and in some cases, the suppression of modern dance in Romania and Transylvania.
13
Ciesielski, Tomasz. "Contemporary dance theatre in neurocognitive perspective – Granhøj Dans case." Theatralia, no. 2 (2016): 76–90. http://dx.doi.org/10.5817/ty2016-2-4.
Full text
14
Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (October 8, 2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.
Full textAbstract:
In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.
15
Maples, Holly. "Embodying Resistance: Gendering Public Space in Ragtime Social Dance." New Theatre Quarterly 28, no. 3 (August 2012): 243–59. http://dx.doi.org/10.1017/s0266464x12000437.
Full textAbstract:
In this article Holly Maples examines how the controversy surrounding the ragtime dance craze in the United States allowed women to renegotiate acceptable gendered behaviour in the public sphere. In the early 1910s many members of the public performed acts of resistance to convention by dancing in the workplace, on the street, and in public halls. Civic institutions and private organizations sought to censor and control both the public space of the dance hall and the bodies of its participants. The controlling of social dance was an attempt to restrain what those opposed to the dances saw as unrestrained and indecent physical behaviour by the nation's youth, primarily targeting ragtime dancing's ‘moral degradation’ of young women. It was not merely the public nature of the dancing that was seen as dangerous to women, however, but the dances themselves, many of which featured chaotic, off-centred choreography, with either highly sexualized behaviour, as seen in the tango and the apache dance, or clumsy, un-gendered movement, popular in the animal dances of the day. Through ragtime dancing, women performed acts of rupture on their bodies and the urban cityscape, transforming social dancing into public statements of gendered resistance. Holly Maples is a lecturer in Drama at the University of East Anglia. Both a theatre practitioner and a scholar, she trained as an actress at Central School of Speech and Drama in London and completed her PhD in Theatre Studies at Trinity College Dublin. Her book, Culture War: Conflict, Commemoration, and the Contemporary Abbey Theatre, has recently been published in the ‘Reimagining Ireland’ series by Peter Lang.
16
Ley, Graham. "Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment." New Theatre Quarterly 7, no. 28 (November 1991): 348–52. http://dx.doi.org/10.1017/s0266464x00006047.
Full textAbstract:
Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zealand, and his Short Introduction to the Ancient Greek Theatre will shortly appear from the University of Chicago Press.
17
Lampe, Eelka. "Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions." Theatre Research International 22, no. 2 (1997): 105–10. http://dx.doi.org/10.1017/s0307883300020514.
Full textAbstract:
The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era, No Plays, No Poetry (1988) on Brecht's theoretical writings, American Vaudeville (1991), and The Medium (1993) on the writings of the Canadian media philosopher Marshall McLuhan. Bogart has been acclaimed for her astute directing of the work by contemporary playwrights, such as Paula Vogel, Charles Mee Jr. and Eduardo Machado.
18
Mitra, Royona. "Talking Politics of Contact Improvisation with Steve Paxton." Dance Research Journal 50, no. 3 (December 2018): 6–18. http://dx.doi.org/10.1017/s0149767718000335.
Full textAbstract:
In the autumn of 2015, on the back of the publication of my monograph Akram Khan: Dancing New Interculturalism (Mitra 2015), I was settling into my Brunel University London-sponsored sabbatical to kick-start my postdoctoral research project, then titled “Historicizing and Mapping British Physical Theatre.” At that stage, this new field of study, methodology, and tone of enquiry felt significantly different from the decolonial spirit of my book, which examines the works of the British-Bangladeshi dance artist Akram Khan at the intersections of postcoloniality, race, gender, sexuality, mobility, interculturalism, and globalization, arguing for his choreographic choices as discerning political acts that decenter the whiteness of contemporary western dance from his position within this center. With this new project I was keen, instead, to investigate the development of “British physical theatre” as an interdisciplinary genre that emerged interstitially between and through its “double legacy in both avant-garde theatre and dance” (Sánchez-Colberg 2007, 21) with a particular emphasis on what the import of the choreographic vocabulary of partnering would have brought to these experiments. Very conscious that the now ubiquitous aesthetic of partnering in contemporary Euro-American theater dance derived its roots from the somatic explorations of contact improvisation, I was intrigued to examine how the genre of British physical theatre would have engaged with choreographic touch from its somatic beginnings in contact improvisation to its politicized and aestheticized manifestation in partnering. I was also conscious, of course, of the role that Steve Paxton, the artist whose name has become synonymous with contact improvisation's inception and development in 1970s United States, had to play in teaching contact improvisation in the dance program at Dartington College of Arts in the United Kingdom (UK) in the 1970s and 1980s. Driven by a need to examine the potential relationship between Dartington's 1970s movement experiments with Paxton and contact improvisation, and the emergence of partnering as a key aesthetic within British contemporary dance, specifically its manifestation in physical theatre, I wanted to interview Paxton himself. Needless to say, I was of course fully aware of the difficulty in making such an important research opportunity materialize. However, within months, the remarkable generosity of our dance studies network, in this instance embodied by Professors Susan Foster and Ann Cooper Albright, and the dance artist Lisa Nelson, led me to the inbox of Steve Paxton himself in November 2015. Paxton was instantly responsive to my e-mail communications, and deeply invested and committed to sharing his experiences and insights with me. We arranged our Skype interview for early 2016, agreeing that this would give me enough time to research existing interviews with Paxton, in print and on video, to ensure that I could delineate my own questions for him in productive ways. The more I researched, the more a feature of the extensive archive of interviews with Paxton revealed itself: the predominant absence of bodies and perspectives of color from the early days of contact improvisation's experiments. This absence, in turn, became more and more present in my thinking.
19
Banks, Ojeya Cruz. "Yvette Hutchison and Chukwuma Okoye (eds), African Theatre: Contemporary Dance." Dance Research 38, no. 1 (May 2020): 124–26. http://dx.doi.org/10.3366/drs.2020.0295.
Full text
20
Jonīte, Dita. "Horeogrāfija vai scenogrāfija? Dejotāju koris Latvijas Nacionālā teātra iestudējumā „Pūt, vējiņi!”." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 296–309. http://dx.doi.org/10.37384/aplkp.2021.26-1.296.
Full textAbstract:
The close collaboration of the creative team is an important feature of contemporary theatre, not only in experimental but also in more traditional repertory theatres. Often, it is almost impossible to detect the personal contribution of each individual co-creator while analysing different elements of a production, as they are entwined and created new hybrid forms. Therefore, it is a research challenge to see and define new, unprecedented phenomena in the current artistic landscape. Many original solutions can be identified in the staging of Rainis’s play “Blow, the Wind!” (2018, the Latvian National theatre, director Elmārs Seņkovs). The paper analyses a layer of this production created by contemporary dance choreographer Agate Bankava and stage folk dance choreographer Jānis Purviņš. They have contributed to the idea of scenographer Monika Pormale to create a chorus consisting of 150 dancers and filling the entire stage box of the Latvian National Theatre. The chorus forms an essential part of space and performance. In the context of the production, this allows talking about the so-called living scenography when spectators, watching the particular actions of the chorus, can associate these with, for example, the wind or sunlit Daugava, and cannot distinguish whether it is choreography or scenography. The main conclusion of the paper: the production “Blow, the Wind!” is a result of artistic synergy when artists work, complementing each other, and not strictly distinguishing their professional specialisation and responsibility.
21
Shevtsova, Maria. "Revolutions Remembered: the Golden Mask in Moscow 2017." New Theatre Quarterly 33, no. 3 (July 10, 2017): 288–98. http://dx.doi.org/10.1017/s0266464x1700032x.
Full textAbstract:
The 2017 Golden Mask and National Theatre Award and Festival in Moscow offered, as it usually does, a wide range of large- and small-scale theatre, musical theatre, opera, ballet, contemporary dance, and puppetry – a month and more of intensive activity that keeps its annually changing jury on its toes. Maria Shevtsova provides an overview of the Russian Case: a concentration of productions for foreign producers and critics that reflects quite accurately the Golden Mask's complete spoken theatre selection (as distinct from other forms of theatre such as dance). She observes that a cluster of productions refers to rebellions and revolutions that preceded the 1917 October Revolution, though none deals directly with that event. Remaining works allude in various ways to more recent Russian and global history, showing how its makers are sensitive to a past that filters through the more than troubling present. Maria Shevtsova, Professor at Goldsmiths, University of London, is co-editor of New Theatre Quarterly.
22
Magven, Anamet. "At arbejde med at begribe det fornemmede - en fortælling om et danseprojekt på et børnehjem i Rusland." Nordic Journal of Dance 2, no. 1 (December 1, 2011): 8–19. http://dx.doi.org/10.2478/njd-2011-0003.
Full textAbstract:
Abstract Working with understanding the sensed: a narrative about a dance project at an orphanage in Russia is a paper based on a thesis for the postgraduate program Dance Partnership and Pedagogy at the National School of Contemporary Dance in Denmark (2008–10). The project was initiated by the partnership between the School of Contemporary Dance and the Greenhouse Project (Zelyonyi Dom) at the Orphanage # 9 in St. Petersburg, Russia. Zelyonyi Dom is a dance development project including 20 children from 8 to 12 years of age. A group of 9 children participated in the educational-dance-performance project discussed in this paper. The ten-day project was carried out in March 2010. The performance Petrushka premiered at the Fairytale Theatre in St. Petersburg. It was the first time the participating children performed on a real stage and they did so for a sold out 400 seat theatre. The project works with creative dance that approaches dancing, teaching and researching from a phenomenological perspective. It adopts a holistic view on the body, the psyche and the world and attempts to encounter the phenomena openly by suspending pre-made assumptions. The research explores moments of learning using the concept of attunement (“stemthed”) as it has been developed by Kirsten Fink-Jensen (1998). What is sensed in the dance space with the children, and how can one describe the sensed and nonverbal in words?
23
Thamkulangkool, Piyawat. "Audience Development in Thai Contemporary Theatre and Dance: A Study of the Barriers to Audience-Building." MANUSYA: Journal of Humanities 24, no. 1 (June 14, 2021): 22–36. http://dx.doi.org/10.1163/26659077-02401009.
Full textAbstract:
Abstract This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more emphasis on their performance-making than on their organization or management. Such a production-centered emphasis often neglects the importance of two-way interaction between artists and audiences and shows insufficient appreciation of audiences in developing their performances and programs. The inattention of many performance companies or groups to their current and potential audiences and to techniques to build and develop them is widespread, but not universal. However, a few groups have worked to create and manage their performances based on audiences’ perspectives, thus both removing barriers to performance participation as much as possible and motivating transactional relations with audiences. Audience responses from these companies has led to greater audience engagement and improved audience appreciation.
24
Bishop, Claire. "Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention." TDR/The Drama Review 62, no. 2 (June 2018): 22–42. http://dx.doi.org/10.1162/dram_a_00746.
Full textAbstract:
Relocated from the “black box” of experimental theatre to the “white cube” of the gallery, dance in the museum brings about new forms of performance — the dance exhibition — and new protocols of audience behavior that permit, even encourage, smartphone photography. This is the “gray zone” of recent performance, which is both a symptom of, and compensation for, the virtualization of contemporary perception.
25
Naumann, Matthias. "‚Jeg’ (det) er en anekdote." Peripeti 4, no. 8 (June 8, 2021): 29–40. http://dx.doi.org/10.7146/peri.v4i8.110155.
Full textAbstract:
In his analysis of Ohad Naharins Virus (Batsheva Dance Company, 2001), Bloody Mess (Forced Entertainment, 2004), and Stadt als Beute (René Pollesch, Volksbühne im Prater, 2001), Matthias Naumann writes about the gesture of speech in contemporary theatre.
26
Gargano, Cara. "Complex Theatre: Science and Myth in Three Contemporary Performances." New Theatre Quarterly 14, no. 54 (May 1998): 151–58. http://dx.doi.org/10.1017/s0266464x00011970.
Full textAbstract:
Today, argues Cara Gargano, we are at the cusp of a scientific paradigm shift which is having a profound influence on the way we construct our art and our identity. Like the shift from an oral to a literary mode of communication, or from a geocentric to a heliocentric world view, the movement from a Newtonian to a quantum world view has altered not only the way we understand our universe but the way we write and perform it. In recent years, critics David R. George, Natalie Crohn Schmitt, David Porush, and William Demastes have used terminology and concepts from the ‘new science’ to theorize about theatre. In this article Cara Gargano explores three new works that premiered in the 1995–96 New York City season – Rent, Interfacing Joan, and The Universe (ie, How It Works) – and discusses the way these performances rely, consciously or unconsciously, on this paradigm shift. She proposes that all three plays, while different in style, venue, and narrative, have at their base an assumption of a quantum universe – that is, they create a holistic mythology that gestures toward the theatre's origins as a ritual interaction with our world, and moves from a postmodern to a pre-millennial stance. Cara Gargano is Chair of the Department of Theatre, Film, and Dance at the C. W. Post Campus of Long Island University. She has published in Modern Drama, L'Annuaire Théâtrale, New Theatre Quarterly, and Dance and Research. Her recent article in Reliologiques deals with the myth of Orpheus as a model for the quantum world.
27
Jirajarupat, Phakamas, and Nataporn Rattanachaiwong. "Leh Laweng: Reinventing “Lakhon Phanthang” Hybrid Dance Theatre in a Post-Traditional Style." Manusya: Journal of Humanities 23, no. 3 (December 23, 2020): 352–72. http://dx.doi.org/10.1163/26659077-02303005.
Full textAbstract:
Abstract Leh Laweng (The Wiles of Laweng) was a new dance-drama the authors created in 2019 in a post-traditional style of “Lakhon Phanthang” or hybrid dance theatre form. Working in our faculty’s theatre, the authors developed an original woman-centerd plot from the well-known Thai epic poem The Story of Phra Aphai Mani by Sunthorn Phu. Our new four-act script focused on the key, but neglected, figure Laweng – a Western-styled warrior queen – and reworked traditional modes of presentation to better convey a new sensibility for today’s audiences. While performed by traditional performers, cast for their abilities in traditional dancing and their knowledge, without regard to their gender, their acting also incorporated some modern theatrical techniques. The new style of this hybrid Thai dance play sought to convey a new message to contemporary audiences, while retaining key aspects of the Thai traditional form and taking on a more contemporary look. The process of reinventing Lakhon Phanthang into a post-traditional performance allowed artists, academics, and students to enrich their knowledge and through this new hybrid play for today’s audiences.
28
Constantinescu, Tamara. "The Musical – Total Art with Total Actors." Theatrical Colloquia 7, no. 2 (December 1, 2017): 239–46. http://dx.doi.org/10.1515/tco-2017-0022.
Full textAbstract:
Abstract A performance is a common adventure, the result of the “confrontation” of several creators who meet, each of them bringing the perspective of their own domain, in order to decipher a play that is meant to be represented on stage. The musical satisfies the contemporary audience’s need for novelty and dynamism, as its main characteristic is the bringing together of arts: theatre – through acting, literature – through the libretto, music – through scores and vocal interpretation, dance, and painting – through scenography. The 13th edition of Gala Vedetelor – VedeTEatru, 2016, the Festival organized by George Ciprian Theatre in Buzău, had MUSIC as its main celebrity. The audiences could attend some of the best performances of dance theatre, concert-theatre, or musicals, such as: ArtOrchestra, directed by Horia Suru, Zic Zac, performed by its young creators Andrea Gavriliu and Ştefan Lupu, or West Side Story, created by the choreographer-director Răzvan Mazilu.
29
Thain, Alanna, and VK Preston. "Tendering the Flesh: The ABCs of Dave St-Pierre's Contemporary Utopias." TDR/The Drama Review 57, no. 4 (December 2013): 28–51. http://dx.doi.org/10.1162/dram_a_00301.
Full textAbstract:
Montreal choreographer Dave St-Pierre's La Pornographie des âmes (2004) launched his controversial dance-theatre trilogy, Sociology and Other Contemporary Utopias. His signature abecedery from Pornographie (A for Affect, B for Bruise, etc.) is remobilized to deploy the affective commotion of his remappings of social relations in provocative stagings of queerness, dis/ability, and desire.
30
DeGrasse-Johnson, Nicholeen, and Christopher A. Walker. "Roots to Routes." Cultural and Pedagogical Inquiry 11, no. 3 (December 13, 2019): 13–30. http://dx.doi.org/10.18733/cpi29500.
Full textAbstract:
Presented as a retrospective dialogue between the two co-authors, this essay highlights the history of the National Dance Theatre Company (NDTC), and the Visual and Performing Arts School of Dance, Edna Manley College (EMCVPA). The essay traces the post-independence evolution of modern dance in Jamaica. Furthermore, it examines the intersections, the respective roles, functions and contributions of the two major institutions which have shaped Jamaica’s distinctive, modern dance teaching and public performances. By concentrating on their lived experiences, the co-authors explore themes of identity, educational modern dance’s history and philosophies, and Jamaican dance’s cultural and aesthetic dimensions. Finally, the essay invites a reimagining of the Caribbean contemporary dance which values folk, traditional and popular dance as sources for art and scholarship.
31
George, David E. R. "Quantum Theatre – Potential Theatre: a New Paradigm?" New Theatre Quarterly 5, no. 18 (May 1989): 171–79. http://dx.doi.org/10.1017/s0266464x00003067.
Full textAbstract:
The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory makes for a paradigm which is no less compelling, according to which the sense of theatrical ‘potentiality’ which characterizen much contemporary experimental theatre is illuminated and paralleled by the refusal of scientific certainty that quantum theory confronts and accommodates. David George. whose ‘Letter to a Poor Actor’ appeared in NTQ 8 (1986), taught in the Universities of California at Berkeley, Gottingen, Malaysia, and Peking before taking up his present post at Murdoch University, Western Australia. His books include studies of Ibsen. German tragic theory, and Indian ritual dance–drama.
32
Dutta Gupta, Aabrita. "Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 91–108. http://dx.doi.org/10.18778/2083-8530.23.06.
Full textAbstract:
This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitute her through the medium of Indian classical dance and music juxtaposed with Shakespearean dialogues from Macbeth. This paper will argue the possibilities posited by this transgressive re-reading of a major Shakespearean tragedy by concentrating on a possible understanding through a Hindu religious sect —Vaishnavism, as embodied through the medium of jatra. To form a radically new stage narrative in order to bring into focus the dilemma and claustrophobia of Lady Macbeth is perhaps the beginning of a new generation of Shakespeare explorations. Iyenger’s production not only dramatizes the tragedy of Lady Macbeth through folk dramatic tradition, dance and music, but also Indianises it with associations drawn from Indian mythological women like Putana (demoness) and Shakti (sacred feminine).
33
Sörgel, Sabine. "Poppies, Ropes, and Shadow Play: Transcultural Memories of the First World War during Brexit." New Theatre Quarterly 37, no. 2 (April 29, 2021): 174–89. http://dx.doi.org/10.1017/s0266464x21000051.
Full textAbstract:
The years 2014 to 2018 witnessed the centenary of the First World War, commemorated around different cities and other locations around the world. In the United Kingdom, public centenary commemorations were funded by the Tory government, Heritage Lottery Fund, and private and corporate donors with an overall budget of over fifty million pounds, including the cultural programme 14–18 NOW that encompassed television documentaries, educational programmes, art exhibitions, theatre, and dance performances. 2016 was also the year of the divisive Brexit referendum, when Leave voters won by a small margin to end Britain’s membership of the European Union. As Britain sought to redefine its global political role, artists devised a set of suggestive transcultural acts of remembrance to spur public debate about the colonial past and current resurging nationalism. This article discusses three important theatrical events commissioned by 14–18 NOW: Paul Cummins and Tom Piper’s Blood Swept Lands and Seas of Red (2014), Akram Khan’s XENOS (2018), and William Kentridge’s The Head & the Load (2018). Each theatrical event refocused awareness regarding long-standing crises of identity conflicts at the heart of Britain’s contemporary politics, pointing towards an uncertain national future. Sabine Sörgel was Senior Lecturer in Dance and Theatre at the University of Surrey (2013–2019) and is now an independent scholar, writer, and dramaturge. Her most recent book is African Contemporary Dance Theatre: Phenomenology, Whiteness, and the Gaze (Palgrave Macmillan, 2020).
34
Pędzisz, Joanna. "Koncepcja ruchu w dyskursie o tańcu współczesnym." Acta Neophilologica 2, no. XXII (December 1, 2020): 83–96. http://dx.doi.org/10.31648/an.5586.
Full textAbstract:
The aim of the considerations presented in this paper is to determine the specificity of movement in contemporary dance. This specificity is considered at three levels: as the relationship of body parts to each other, as the relation of the body and part of it to the stage space, and as the relation of the body and parts of it to the qualitative parameters of movement such as speed, tension and size. The research data consist of the descriptions of dance performances, which are published in printed or electronic form during the organization of conferences, meetings and dance theatre festivals.
35
Shevtsova, Maria. "Performance, Embodiment, Voice: the Theatre/Dance Cross-overs of Dodin, Bausch, and Forsythe." New Theatre Quarterly 19, no. 1 (January 10, 2003): 3–17. http://dx.doi.org/10.1017/s0266464x02000015.
Full textAbstract:
The closing decades of the twentieth century and the opening years of the twenty-first have seen a wide range of hybrid and cross-over performance forms, dance/theatre being prominent among them. In this article, Maria Shevtsova outlines the similarities between the working principles of director Lev Dodin and those of the choreographers Pina Bausch and William Forsythe, suggesting how they have set and still exemplify current trends in a networked world (Castells) of precarity (Bourdieu) and uncertainty. She also explores a broader socio-artistic context for her focus. This text is a slightly modified version of a belated inaugural lecture for her third appointed professorial chair, at Goldsmiths College, University of London, in March 2002. Maria Shevtsova is an Advisory Editor of NTQ, whose recent publications include ‘Theatre and Interdisciplinarity’ (2001), a special issue she guest-edited for Theatre Research International, and ‘The Sociology of the Theatre’ (2002), edited for Contemporary Theatre Review, which includes her essay, ‘Appropriating Pierre Bourdieu's Champ and Habitus for a Sociology of Stage Productions’. Her book on Lev Dodin and the Maly Drama Theatre of St Petersburg is due for publication in 2003.
36
Mangold, Alex. "Failure, Trauma, and the Theatre of Negativity: the New Tragic in Contemporary Theatre and Performance." New Theatre Quarterly 35, no. 1 (January 16, 2019): 33–43. http://dx.doi.org/10.1017/s0266464x18000593.
Full textAbstract:
In this article, Alex Mangold identifies failure as a defining element of tragedy and argues that traditional understandings of the genre have been too narrow. Here, he asserts that tragic failure contributes to a tragic ‘mode’ that transcends genre definitions and, instead, extends to all kinds of contemporary theatre and performance. Examining a wide range of performance examples, including work from Sophocles to Sarah Kane, Forced Entertainment, Sasha Waltz, and Orlan, he argues that tragic failure, as it has come to be realized in examples of postdramatic writing and in site-specific or dance-based performance, is presented as an option, a dramatic choice, an outcome or part of an overall denial of dramatic form. The true power of the new tragic consequently lies in its ability to foster social change and a more ethical stance toward social dystopias. Alex Mangold lectures in the Department of Modern Languages at Aberystwyth University. He is co-editor (with Broderick Chow) of Žižek and Performance (Palgrave, 2014) and has published articles and chapters on the work of Sarah Kane and Howard Barker.
37
FENG, WEI. "Performing Comic Failure inWaiting for GodotwithJingjuActors." Theatre Research International 42, no. 2 (July 2017): 119–31. http://dx.doi.org/10.1017/s0307883317000256.
Full textAbstract:
Since the 1980s the Taiwanese theatre troupe Contemporary Legend Theatre (CLT) has been devoted to transformingjingjuby way of adapting world classics. Through an analysis of its adaptation of Samuel Beckett'sWaiting for Godot(2005), this article considers how CLT pushes the boundaries ofjingjuacting, which is made up of singing, speaking, dance-acting and combat. To meet Beckett's challenge of performing comic failure, CLT integratesjingjurestraint and Western slapstick. In so doing, CLT liberates the actors’ bodies fromjingjuconventions to produce a new aesthetic, which also gives the original play a new metaphysical interpretation.
38
Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
Full textAbstract:
The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
39
MCGRATH, AOIFE. "Emerging Dance Scholarship in Ireland." Theatre Research International 36, no. 3 (August 30, 2011): 289–91. http://dx.doi.org/10.1017/s0307883311000575.
Full textAbstract:
Irish-based dance practice has a long history of being culturally undervalued, underfunded and marginalized, with the 1995 annual Arts Council report stating a ‘recognition of the fact that dance as an art form has suffered severe neglect in Ireland’. Yet despite this neglect, Ireland has a rich and varied dance history and a vibrant contemporary dance scene, and dance research is emerging as an exciting new field of scholarship. The visibility of theatre dance in the cultural landscape of Ireland improved significantly in the first decade of the twenty-first century. In 2003 dance was finally included as a named art form in the Irish government's Arts Act, and the same year saw the founding of Dance Research Forum Ireland, a society formed to promote critical reflection and discussion about all forms of dance in Ireland. Another important development for dance scholarship was the announcement in January 2010 of Arts Council funding for the establishment of a national dance archive to be housed in the Glucksmann Library of the University of Limerick.
40
Damrhung, Pornrat. "Exploring Partnerships with Common Roots: Two New Ways of Combining Classical Dance Tranditions in Mainland Southest Asian Performances." MANUSYA 14, no. 2 (2011): 36–52. http://dx.doi.org/10.1163/26659077-01402003.
Full textAbstract:
This article explores two different attempts to make partnerships for the today’s stage with teams of classically-trained Southeast Asian dancers in the last three years. Working in different conditions and toward different ends, the Cambodian and Thai dancers discussed in this paper combined their classical artistic training and interests into performances differently directed toward today’s diverse dance audiences. In particular, this paper will reflect on two classically-grounded partnering projects I helped to bring into being as a contemporary theatre artist and producer: the masked dance (khon) performances done at the Sala Chalermkrung Royal Theatre in Bangkok and the Revitalising Monkeys and Giants work-in-progress with Cambodian and Thai artists. By focusing on how these pieces evolved due to their distinct blend of external conditions and artistic aims, I will raise questions about the multiple and complex reasons that prompt traditional artists to work together across national and genre boundaries in order to make new pieces that are meaningful to them and to their audiences. The larger questions raised in this essay will address the identity of these traditional artists in these new settings and what grounds the varied choices of performance partnerships for their diverse contemporary audiences. I will also consider whether these new linkages can help to strengthen dance traditions and enhance the confidence of traditional performers on the stage today.
41
Vișenescu, Oana Iuliana. "14. The Violin in L’histoire Du Soldat – A Metaphor of the Soul." Review of Artistic Education 21, no. 1 (June 1, 2021): 113–21. http://dx.doi.org/10.2478/rae-2021-0014.
Full textAbstract:
Abstract From 1909, Stravinsky manifested a keen interest in composing theatre music, as proves the many and various dedicated scores. Almost all of his large works, from the ballet The Firebird (1909-10) to the one-act opera buffa Mavra (1921-22), are written for the stage. Stravinsky thus worked most of the time with scenic presentations, with questions on movement, dance, gestures or scenic tableaus. He develops a particular theatrical instinct: his works have a good scenic orientation, and the correlation with modernism and the new currents in theatre aesthetics is more than obvious. Critics have already analysed and discussed the parallels with such contemporary theatrical concepts as by Bertold Brecht (1898-1956) or Vsevolod Meyerhold (1874-1940). After three great ballets, whose new conception by Stravinsky and Sergei Diaghilev (1872-1929) brought about a fundamental revolution in dance aesthetics, the composer crystallises his notion of incidental music. The aesthetics of L’Histoire du soldat, a work “to be read, played and danced”, is opposed to that of Richard Wagner (1813-83) and his Gesamtkunstwerk (a work blending various arts, a total work of art): a new artistic idea, frozen in gesture and movement, compressed, finding its concentrated expression. Stravinsky establishes a brilliant draft of the issues of Opera, to which he would from now on dedicate himself. Stravinsky’s theatre music reveals a tendency to introduce new concepts in the works written between Sacre du printemps and Pulcinella. A quick look at his stage works before and after L’histoire is necessary in order to fit it in his artistic view.
42
Adewole, ‘Funmi. "Sabine Sörgel, Contemporary African Dance Theatre: Phenomenology, Whiteness and the Gaze." Dance Research 40, no. 1 (May 2022): 121–22. http://dx.doi.org/10.3366/drs.2022.0361.
Full text
43
Faludi, Julianna. "Open innovation in the performing arts. Examples from contemporary dance and theatre production." Corvinus Journal of Sociology and Social Policy 6, no. 1 (June 1, 2015): 47–70. http://dx.doi.org/10.14267/cjssp.2015.01.03.
Full text
44
Cvejić, Bojana. "From Odd Encounters to a Prospective Confluence: Dance-Philosophy." Performance Philosophy 1, no. 1 (April 10, 2015): 7. http://dx.doi.org/10.21476/pp.2015.1129.
Full textAbstract:
This text inquires into the relationship between Western philosophy and Western theatre dance from their odd encounters in modernity to the current affiliations between contemporary choreographic poetics, critical theory and contemporary philosophical thought. The point of departure for the inquiry is a discussion of the three problems that have structured the historically vexed relationship between dance and philosophy: dance’s belated acquisition of the status of an art discipline, the special ontological status of the work of dance, and the limits of dance’s meaning-production set by the theme of bodily movement’s “ephemerality” and “disappearance.” After critically examining the approaches of Alain Badiou and Jacques Rancière in whose philosophies dance is relegated to a metaphor or, even worse, to an ahistorical conduit for a general ontology, the author makes a case for another movement of thought that arises in dance practice and is at the same time philosophical, rooted in Spinoza’s (and Deleuze’s) principle of expression. Demonstrating how choreographers, like Xavier Le Roy and Jonathan Burrows, create by “posing problems,” Cvejić presents a theory of “expressive concepts,” whereby choreography contributes to a philosophical rethinking of the relationship between the body, movement and time. This points to the new prospects of a kind of “dance-philosophy,” in which the epistemic hierarchy is reversed: the stake is no longer in what philosophy could do for dance, but how an experimental, radically pragmatic orientation in dance offers a practical framework for theorizing perception, concept-formation and other philosophical issues.
45
Gordienko, Elena I. "Non-professionals on the professional stage: Aesthetics of the ordinary in the contemporary theatre and dance." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 82–99. http://dx.doi.org/10.18522/2415-8852-2020-1-82-99.
Full textAbstract:
The article explores the tendency of inviting non-professional artists to contemporary theatre and dance performances. From the examples of the Rimini Protokoll, Jérôme Bel, Nicole Seiler, Tatyana Gordeeva, Vsevolod Lisovsky and Dmitry Volkostrelov performances it is shown how the participation of “ordinary” people serves aesthetic and ethical purposes of the stage directors and choreographers. Ordinary bodies, gestures and voices in contemporary theatre are valued as manifesting the extra-institutional identity of the participants, namely, a professional or social one, with which the spectators could easily identify themselves. The non-virtuosity of movements and speech, making mistakes and even fatigue, become specially constructed “signs of naturalness”. Participatory projects in which the main action is expected to be performed by the audience can be seen also as a performance with non-professional artists. The borders between artistic and non-artistic in such projects are blurred. Likewise, the community creation, the attention paid to other people and the inclusion of “everyday” life becomes its main aesthetic feature.
46
Dahlstedt, Ami Skånberg. "A Body of Accents." Nordic Journal of Dance 9, no. 1 (June 1, 2018): 44–51. http://dx.doi.org/10.2478/njd-2018-0005.
Full textAbstract:
Abstract Dance practice is often hidden inside dance studios, where it is not available for dialogue or interdisciplinary critique. In this paper, I will look closer at one of the accents that my body has held since the year 2000. To Swedish dance academies, it is perhaps the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell cast over the technique or a contract written that it must be kept secret or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education of many years ago. Are there similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators of the movements we are doing today in contemporary dance?
47
Shevtsova, Maria. "Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015." New Theatre Quarterly 31, no. 3 (July 9, 2015): 232–40. http://dx.doi.org/10.1017/s0266464x15000445.
Full textAbstract:
The Golden Mask and National Theatre Award and Festival, founded in Moscow in 1994, has showcased some of the most exciting theatre to be found across Russia’s vast territories: ‘theatre’ including opera, ballet, contemporary dance, puppetry, and newer forms that have taken root with changing artistic practices. Maria Shevtsova’s brief overview of the 2015 Russian Case, a selection for foreign producers and critics, prominently features ‘new drama’, not least because of the difficulties recently imposed on Teatr.doc, a founding player within this powerful movement. Major young directors appear here, with crossover to their work as represented in past editions of the Russian Case, and with reference to current socio-political factors. Reviews of earlier festivals appeared in NTQ 85, 95, and 103. Maria Shevtsova, Professor at Goldsmiths, University of London, is co-editor of New Theatre Quarterly. Her most recent book is the co-authored Cambridge Introduction to Theatre Directing (2013). Her seminal Dodin and the Maly Drama Theatre: Process to Performance (2004) has been translated into Romanian, Korean, and Mandarin and, in 2014, Russian.
48
Rutgeerts, Jonas, and Nienke Scholts. "TALOS/Talos: Speculatie als daad van betrokkenheid in het werk van Arkadi Zaides." Forum+ 25, no. 2 (June 1, 2018): 3–14. http://dx.doi.org/10.5117/forum2018.2.rutg.
Full textAbstract:
In 2016 namen de Israëlische choreograaf Arkadi Zaides en een team van medewerkers het initiatief voor een tweejarig artistiek onderzoek gebaseerd op TALOS, een Europees project dat tot doel had een mobiele robot voor de bescherming en beveiliging van de Europese grenzen te ontwikkelen en te testen. Dit artikel neemt dat artistiek onderzoek als basis om de mogelijkheden van pre-enactment en speculatie in hedendaags theater, dans en performance te verkennen. In 2016 the Israeli choreographer Arkadi Zaides and a team of collaborators embarked on a two-year artistic research initiative based on TALOS, a European Project aimed at developing a mobile robot for protecting and securing Europe’s borders. The article uses this artistic research as a basis for an exploration of the possibilities of pre-enactment and speculation in contemporary theatre, dance and performance.
49
Hammond, Abigail. "Evolving methodology ‐ Designing costumes for Jasmin Vardimon’s immersive work Maze." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 243–63. http://dx.doi.org/10.1386/scp_00007_1.
Full textAbstract:
This research report seeks to record and reflect on the process of creating costumes for Jasmin Vardimon’s dance theatre work Maze (2015). It examines this experience within the context of an evolving methodology, established at a point of reflection on a twenty-year practice of designing costumes in contemporary dance. Drawing on a background of Laban-centred dance training, the design approach is rooted in a physical understanding; the bodily experience of what it is to dance. This includes an understanding of kinaesthetic empathy, how it was harnessed and subsequently informed the creation of the costumes for two distinct groups of performers. Maze, unlike all previous Vardimon productions, is an ‘immersive’ work. This specific scenographic context had an impact on the collaborative relationship, which led to new thinking in defining a creative relationship with choreography. The intertwining of costume and choreography as visual language is continued with the search for written language that adequately describes the creative processes and relationships, drawing on Vardimon’s own arts practice.
50
Mullis, Eric C. "Dancing for Human Rights: Engaging Labor Rights and Social Remembrance in Poor Mouth." Dance Research 34, no. 2 (November 2016): 220–42. http://dx.doi.org/10.3366/drs.2016.0160.
Full textAbstract:
There is a tradition of dance artists developing work for the concert stage in order to engage pressing social justice issues and, more specifically, the abuse of human rights. Anna Sokolow's Strange American Funeral (1935), Pearl Primus' Strange Fruit (1945), Katherine Dunham's Southland (1951), Alvin Ailey's Masekela Langage (1969), Jawole Willa Jo Zollar's Womb Wars (1992), William Forsythe's Human Writes (2005), and Douglas Wright's Black Milk (2006) are examples of acclaimed dances that address the manner in which marginalized individuals and social groups have not been granted equal ethical or political consideration. 1 In this essay I consider how dance enacts secular rituals of remembrance for victims of human rights abuses characteristic of a particular community's or nation's historical legacy. This entails discussion of aesthetic strategies used to portray human rights abuse, a consideration of the ethics of memory, and analysis of specific dance work. I discuss my site-adaptive work Poor Mouth (2013) which centers on labor rights issues in the American South during the Great Depression and I argue that dance which presents such issues performs a valuable social function as it encourages audiences to remember the past in a manner that facilitates a historically informed understanding of communal identity. Further, since historical instances of human rights abuse often have contemporary correlates and since remembrance affects the significance of places associated with the history in question, the implications of such work temporally and spatially extend beyond the performance venue and thereby contribute to political discourse in the public sphere. Dance intersects with human rights issues in many ways, but here I focus on dances intended for performance on the concert stage. For the purposes of this essay, the terms ‘dance activism’ and ‘political dance’ refer to dances that intentionally grapple with explicit human rights abuses and that are intended to be performed for a theatre-going audience. Along the way I note what bearing my points have for other forms such as popular dance, dance used in acts of public political protest, site-specific dance, and dance therapy, but I should emphasize that it is beyond the scope of this essay to consider the many ways that dance intersects with human rights and with political activism more generally. Lastly, I should say that my approach to this topic is informed by the personal experience of collaboratively creating and performing dance work in a particular community and that it is interdisciplinary in nature since its draw on aspects of philosophical ethics in order to reflect on that experience.