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Relevant bibliographies by topics / Dance Theatre of Harlem

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Academic literature on the topic 'Dance Theatre of Harlem'

Author: Grafiati

Published: 4 June 2021

Last updated: 23 February 2023

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Journal articles on the topic "Dance Theatre of Harlem"

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Geduld, Victoria Phillips. "Sahdiji, an African Ballet (1931): Queer Connections and the “Myth of the Solitary Genius”." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 95–105. http://dx.doi.org/10.1017/s204912550000056x.

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In May 1931 the ballet Sahdji premiered at the Eastman Theatre in Rochester, New York: with a libretto by Harlem Renaissance's Alain Locke and Richard Bruce Nugent, music by composer William Grant Still, the ballet by Thelma Biracree, and dedicated to the Eastman School's Howard Hanson, the work was set in Africa and performed by dancers in blackface. In 1934 the work was performed with an all-black cast in Chicago and revived in Rochester through 1950. Sahdji demonstrates that the participants shared two tenets: the desire to create high art, and the belief in African forms to achieve artisti

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Burt, Philippa. "‘The Best Thing I Ever Did on the Stage’: Edward Gordon Craig and the Purcell Operatic Society." New Theatre Quarterly 38, no. 3 (2022): 258–69. http://dx.doi.org/10.1017/s0266464x22000185.

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Although lasting only two and a half years, Edward Gordon Craig’s engagement with the Purcell Operatic Society was his most consistent and productive period of work on the stage. This article re-examines this time during Craig’s life in order to ascertain why he saw it to be the zenith of his career. In particular, it analyzes his work with the amateur group to argue that it was foundational in the development of his approach to theatre-making and, further, helped him to introduce the entity of theatre director to Britain and what the role of such a person could be. By examining this material

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Christian, Mary. "Performing Marriage: A Doll's House and Its Reconstructions in Fin-de-Siècle London." Theatre Survey 57, no. 1 (2015): 43–62. http://dx.doi.org/10.1017/s0040557415000551.

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Actress Elizabeth Robins, encountering Ibsen's Doll's House for the first time in a Novelty Theatre performance in June 1889, was thrilled by both the boldness of the play's ideology and the emotional power of the characters and the acting. The one element with which she found fault in the production, however, was Nora's tarantella, which she described nearly forty years later as “a piece of theatricalism, Ibsen's one concession to the effect-hunting that he had come to deliver us from.” William Archer and Harley Granville-Barker concurred with Robins's assessment, criticizing Nora's dance as

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Engelhardt, Molly. "The Revolt of the Harem on the English Stage: A Spectacle of Domestic Reform." Dance Research 33, no. 1 (2015): 31–49. http://dx.doi.org/10.3366/drs.2015.0122.

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‘[I]t is the cause of woman we defend—it is your cause—it is time to free ourselves from the despotism of man.’ ( Bunn , p. 15) The Revolt of the Harem was performed in London forty-three times during the 1834 season to sell-out crowds; it continued to be talked about and staged, in various forms, into the 1850s. The ballet was created by Filippo Taglioni and received its first performance in Paris in 1833; but it was rewritten, restaged and renamed by Alfred Bunn (the Manager of the Theatre Royal, Covent Garden) to add novelty to the English stage and, of course, to sell tickets. While the Fr

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Scott-Papke, Jacqui. "Aduke Aremu’s Harlem Children’s Theatre Company." Youth Theatre Journal 31, no. 2 (2017): 129–39. http://dx.doi.org/10.1080/08929092.2017.1370760.

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Safta, Alice-Maria. "Dance Theatre in Notes." Theatrical Colloquia 7, no. 2 (2017): 273–81. http://dx.doi.org/10.1515/tco-2017-0026.

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Abstract The fusing of arts enriches a spectacular setting for all human feelings to thrive and express themselves. The theatre in the arts and the art in the theatre, a sublime melding of purity and mystery, speaks striking truths for those with ears to hear them. “The floors” of theatres today enjoy classical dramatic pieces, as well as the staging of experiments, which in my opinion are a real necessity for the entire development of the creative human spirit. The need for free speech and expression gives us motivation to explore the meaning of the term “classical”. The latest trends in the

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Kruger, Jaco. "Mitambo: Venda Dance Theatre." South African Theatre Journal 14, no. 1 (2000): 73–96. http://dx.doi.org/10.1080/10137548.2000.9687702.

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Pendle, Karin. "For the theatre: Opera, dance, and theatre piece." Contemporary Music Review 16, no. 1-2 (1997): 69–79. http://dx.doi.org/10.1080/07494469700640081.

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Woll, Allen, Ken Bloom, and Arnold Shaw. "Dictionary of the Black Theatre: Broadway, Off-Broadway, and Selected Harlem Theatre." Black Perspective in Music 13, no. 1 (1985): 124. http://dx.doi.org/10.2307/1214800.

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IWANSKA, ALICJA. "Straight into the Eyes – Jacek Łumiński and the Silesian Dance Theatre(1991-2011)." Journal of Education Culture and Society 3, no. 1 (2020): 31–46. http://dx.doi.org/10.15503/jecs20121.31.46.

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The fi nal decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over the intervening twenty years.The aim of this article is to present the artistic and educational activit

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Dissertations / Theses on the topic "Dance Theatre of Harlem"

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Batista, Henrique Medeiros. ""Africa! Africa! Africa!" Black Identity in Marlos Nobre's Rhythmetron." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586866469586654.

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Wessels, Anton. "STDC State Theatre dance centre." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10122006-121626.

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Malmquist, Cassandra Muree Kathleen. "Theatre and dance lighting design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1688.

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Wessels, Anton. "The STDC - State Theatre Dance Centre." Diss., University of Pretoria, 2006. http://hdl.handle.net/2263/25659.

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The State Theatre Dance Centre forms part of the regeneration and upliftment of the Pretoria CDB. The STDC (State Theatre Dance Centre) is proposed to be sited directly opposite the South African State Theatre, in the CBD of Pretoria. The proposed site for the STDC, urban-infill project is an underutilized and undeveloped portion of land along Pretorius Street. Throughout the project the context was sensitively investigated and considered. The proposed building does not attempt to aesthetically ‘blend’ with the surrounding buildings but is rather the product of considering the opportunities an

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Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.

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A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of

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Brauner, Nathan. "Dance Gala 2016: navigating stage management in dance." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5425.

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Burt, Ramsay Maxwell Barnes. "Representations of masculinity in theatre dance with special reference to British new dance." Thesis, University of Chichester, 1994. http://eprints.chi.ac.uk/946/.

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The phenomenon of 'new dance' has received little sustained study, either in terms of its own history or in terms of its efforts to reconstruct the representation of gender in dance. This study assesses the extent to which representations of masculinity in the work of British new dance artists have differed significantly from the ways in which masculinity has been represented in mainstream theatre dance. A theoretical framework is developed for analyzing dance which takes account of theories already in existence and examines them critically from an ideological perspective. Whereas almost all e

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Sidden, Jean. "Amas Repertory Theatre: Passing as Black While Becoming White." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18353.

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Amas Repertory Theatre was founded in 1969 by Rosetta LeNoire, an African American actress who pursued a mission of developing original musicals while practicing interracial casting. The company's most successful show was Bubbling Brown Sugar (1975). Throughout Amas's history LeNoire's complicated perspective on what constituted discrimination sometimes caused her casting choices to be questioned. LeNoire believed in a colorblind theatre and society, however, as the decades passed, her colorblind perspective was challenged by neo-conservative philosophy which states that in a colorblind societ

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Winchester, Rachel. "Dance as Literary Criticism: Literary Analysis and Dramaturgy in a Dance Theatre Choreographic Process." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18356.

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In my research into interdisciplinary choreographic processes, I found there to be a lacking representation of recent scholarship dedicated to exploring the relationship between literature and dance. As a dance theatre choreographer who often utilizes textual sources as impetuses for artistic creation, I have employed methods of traditional dramaturgy in my practice and, in seeking scholarship on this subject, have noted a need for clear examples of dance dramaturgy in practice. In this thesis study, I employed methods from literary studies and dramaturgy in the process of adapting a work of s

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Maas, Penny. "A Pedagogical Perspective on Storytelling through Movement and Dance." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2721.

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Dance in most musical theatre is an assumed visual element and something that is often taken for granted in production. What is its purpose is the question being pondered in this paper. Since Agnes de Mille first presented her legendary dream ballet in Oklahoma! in 1943, theatrical dance has never been the same. She revolutionized the function of dance in theatre forever. No longer would dance merely be used as interludes or divertissements. Though a seemingly simple theatrical concept, to use movement and choreography to either further the plot or to communicate a character’s journey, it is n

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Books on the topic "Dance Theatre of Harlem"

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Elements of Classical Ballet Technique. Princeton Book Company, 2004.

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Elswit, Kate. Theatre and Dance. Macmillan Education UK, 2018. http://dx.doi.org/10.1057/978-1-137-60575-7.

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National Resource Centre for Dance (Great Britain). Extemporary Dance Theatre. National Resource Centre for Dance, 1997.

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Singer, Noel F. Burmese dance and theatre. Oxford University Press, 1995.

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McGrath, Aoife. Dance Theatre in Ireland. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035486.

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India), Asiatic Society (Calcutta, ed. Kathakali, the dance theatre. Asiatic Society, 1999.

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

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Pina Bausch: Dance theatre. K. Kieser, 2008.

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Indian theatre and dance traditions. Harman Pub. House in association with Iādyant, 2004.

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F, Kamlongera Christopher, and University of Malawi. Research and Publications Committee., eds. Dance and theatre in Malawi. Research and Publication Committee, University of Malawi, 1992.

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Book chapters on the topic "Dance Theatre of Harlem"

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Corbo, Christopher. "Drafting Harlem, revising melodrama." In Impacting Theatre Audiences. Routledge, 2022. http://dx.doi.org/10.4324/9781032214146-7.

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Vincent, Charlotte. "Vincent Dance Theatre." In The Twenty-First Century Performance Reader. Routledge, 2019. http://dx.doi.org/10.4324/9780429283956-71.

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Elswit, Kate. "“Theatre,” “&” “Dance”." In Theatre and Dance. Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60575-7_1.

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Sörgel, Sabine. "Writing Dance into Theatre." In Dance and the Body in Western Theatre. Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-03489-2_2.

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McCormack, Jess. "Making Verbatim Dance-Theatre." In Choreography and Verbatim Theatre. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92019-1_4.

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

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

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

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

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

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Conference papers on the topic "Dance Theatre of Harlem"

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Fourmi, Esteban, JiaXuan Hon, and Aoi Nakamura. "Whist: Dance theatre and Virtual Reality." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.39.

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Chen, Xilin, and Tao Xi. "Cross-Cultural Management of Chinese Traditional Theatre Industry Based on Broadway Operation Model." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001860.

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Broadway, as one of the leading commercial show districts in the West, has a mature commercial experience and operation model. The theatre industry on Broadway is different from other places, and its production and marketing methods have also proven to be highly successful. This paper analyses the business model, artistic concept, communication strategy, and user research of Western theatre based on Broadway at the academic level. At the practical level, the paper investigates the cross-cultural management and communication model of the Chinese theatre industry. The Broadway theatre management

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Chandnasaro, Dharakorn. "The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน". У The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.

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The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of

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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.

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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with

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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.

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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disa

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Dalton, Sean, Henry Koon, Jennifer O’Malley, and Julianna Abel. "A Black Box Design Approach to Avian-Inspired SMA Coil Actuated Wearable Morphing Angel Wings." In ASME 2017 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/smasis2017-3943.

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Black box design is a constraint driven design approach that distills essential elements of a physical process into inputs and outputs. This paper details the black box design implementation and validation of shape memory alloy (SMA) coil actuators as active members in a Watt I six bar avian-inspired wearable morphing angel wing mechanism. SMA coil actuators leverage the unique characteristics of high energy density SMA wire by providing a compact structural platform for large actuation displacement applications. The moderate force and displacement performance of low spring index coil actuator

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