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Books on the topic 'Male dance on the ballet scene'

Author: Grafiati

Published: 5 June 2025

Last updated: 24 June 2025

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1

Mary, Clarke. Dancer: Men in dance. British Broadcasting Corp., 1986.

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2

Burt, Ramsay. The Male Dancer. Taylor & Francis Inc, 2004.

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3

Burt, Ramsay. The Male Dancer. Taylor & Francis Group Plc, 2004.

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4

author, Murga Castro Idoia, ed. Escenografía en el exilio republicano de 1939: Teatro y danza. Renacimiento, 2015.

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5

Barbara, Sears, ed. Dancing from the heart: A memoir. M&S, 2000.

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6

Lee, Hall, and Copyright Paperback Collection (Library of Congress), eds. Billy Elliot: A novel. Scholastic, 2001.

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7

The Male Dancer. 2nd ed. Routledge, 2007.

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8

Gifts, Rhyeland Rhyeland. Real Men Dance Ballet: Male Ballet Dancer Student Planner, 2020-2021 Academic School Year Calendar Organizer, Large Weekly Agenda. Independently Published, 2020.

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9

Van Assche, Annelies, Dunja Njaradi, Igor Koruga, and Milica Ivić, eds. (Post)Socialist Dance. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350408180.

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This book sets out to search for the Second World — the (post)socialist context — in dance studies and examines the way it appears and reappears in today’s globalized world. It traces hidden and invisibilized legacies over the span of one century, probing questions that can make viewers, artists, and scholars uncomfortable regarding dance histories, memories, circulations and production modes in and around the (post)socialist world. Our understanding of ‘dance’ is broad and inclusive. The contributions delve into a variety of dance practices (folk, traditional, ballet, modern, contemporary), modes of dance production (institutionalization processes, festival-making and market logics), and dance circulations (between centres and peripheries, between different genres and styles). The main focus is Eastern Europe (including Russia) but the book also addresses Cuba and China. The hope is for theoretical developments engendered by this focus on the Second World to be useful when applied to regions outside the book’s scope. Its chapters span a range of lesser-known historical examples from the arts of Yugoslav regions (Magazinovic, Davico andThe Legend of Ohrid) to Cuban postrevolutionary artists (Burdsall) and Mongolian Wulmanuqi troupes. The book’s historical examples make the reader aware, too, of the (post)socialist bodies’ influence in today’s dance, including in contemporary dance scenes. The (post)socialist context promises to be a prosperous laboratory to explore uncomfortable questions of legitimacy. Whose choreographic work is staged as a ‘quality’ dance production? Which dance practices are worthy of scholarly study? Which practices are ‘valuable enough’ for decent archiving and institutionalization? What are the limits of dance studies’ understanding of what dance is (and what it should be)? In view of reclaiming the Second World through dance, this book thus probes questions that should be asked today but arenot easyto answer. We set out to explore questions that dance practitioners, facilitators, critics, and researchers, including ourselves, are oftennot at ease witheither. In raising and discussing these, we intend to restore the role and meaning of dance and to offer necessary utopias for those living in a world torn by multiple crises. Through seeking to answer these questions, the cracks of dance history begin to be sealed, and neglected dance practices are written back into history, provided with the academic recognition that they deserve.

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10

Clark, Mary Lou, and Clement Crisp. Dancer: Men in Dance. British Broadcasting Corporation, 1986.

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11

Funny Gag Funny Gag Gifts For Friends - Harmony Coworker Quotes. Make Room I Gotta Dance: Blank Lined Journal Notebook for Ballet Dancers Male and Female, Street Dancer Hip Hop Dancing, Dance Competitions, Jazz Dance. Independently Published, 2020.

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12

A dance of love and jealousy. Dreamspinner Press, 2011.

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13

The male dancer: Bodies, spectacle, sexualities. Routledge, 1995.

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14

Hallberg, David. A Body of Work: Dancing to the Edge and Back. Blackstone Audio, Inc., 2017.

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15

Hallberg, David. Body of Work: Dancing to the Edge and Back. Touchstone, 2017.

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16

A body of work: Dancing to the edge and back. 2017.

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17

Simonson, Mary. A Different Kind of Ballet. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.006.

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Dorothy Arzner’s 1940 filmDance, Girl, Dancehas been embraced within feminist film criticism as a stunning demonstration and critique of the “male gaze” so typical in classical Hollywood cinema. Tracing the lives and careers of two dancers, scholars argue, the film privileges strong female characters and women’s relationships with one another over heterosexual romance. Yet this essay argues thatDance, Girl, Danceis as much a film about the evolution of American dance in the twentieth century as it is about looking at women’s friendships. Juxtaposing Bubbles’s risqué burlesque routines and Judy’s sentimental divertissements with extended sequences of “modern” ballet,Dance, Girl, Dancegrafts contemporary debates about the future of American dance and the meaning of American modernism onto the bodies of Bubbles, Judy, and their fellow dancers.

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18

Augustyn, Frank, and Barbara Sears. Dancing from the Heart: A Memoir. McClelland & Stewart, 2000.

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19

Schlapbach, Karin. Dance and Interpretation in Longus and Apuleius. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.003.0006.

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This chapter focuses on dance scenes from two ancient novels which are both informed by Platonism. It argues that dance, which is dynamic and involves human protagonists, raises with particular insistence the (Platonic) question of how the work of art interferes with the real world. It discusses first how the dance in Book 2 of Longus’ Daphnis and Chloe prepares the way for the mythical pattern of male predominance to shape the protagonists’ relationship in their real lives. Turning to Apuleius’ pantomime of the Judgement of Paris (Met. 10.29–34), the chapter explores the spectator’s display of connoisseurship and aesthetic distance, which eventually collapse when he proceeds to a moralizing interpretation. A glance at a short dance scene in Book 1 and a discussion of the mechanisms that trigger the spectator’s curiosity conclude the chapter.

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20

Burgess, Melvin. Billy Elliot. Tandem Library, 2001.

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21

Burgess, Melvin. Billy Elliot. Tandem Library, 2002.

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22

Billy Elliot. Chicken House Ltd, 2001.

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23

West, Martha Ullman. Todd Bolender, Janet Reed, and the Making of American Ballet. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813066776.001.0001.

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Martha Ullman West illustrates how American ballet developed over the course of the twentieth century from an aesthetic originating in the courts of Europe into a stylistically diverse expression of a democratic culture. West places at center stage two artists who were instrumental to this story: Todd Bolender and Janet Reed. Lifelong friends, Bolender (1914–2006) and Reed (1916–2000) were part of a generation of dancers who navigated the Great Depression, World War II, and the vibrant cultural scene of postwar New York City. They danced in the works of choreographers Lew and Willam Christensen, Eugene Loring, Agnes de Mille, Catherine Littlefield, Ruthanna Boris, and others who West argues were just as responsible for the direction of American ballet as the legendary George Balanchine and Jerome Robbins. The stories of Bolender, Reed, and their contemporaries also demonstrate that the flowering of American ballet was not simply a New York phenomenon. West includes little-known details about how Bolender and Reed laid the foundations for Seattle’s Pacific Northwest Ballet in the 1970s and how Bolender transformed the Kansas City Ballet into a highly respected professional company soon after. Passionate in their desire to dance and create dances, Bolender and Reed committed their lives to passing along their hard-won knowledge, training, and work. This book celebrates two unsung trailblazers who were pivotal to the establishment of ballet in America from one coast to the other.

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24

Fullington, Doug, and Marian Smith. Five Ballets from Paris and St. Petersburg. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190944506.001.0001.

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Abstract This book offers something entirely new: detailed scene-by-scene descriptions of the action and dancing of five classic ballets, bringing the reader far closer to what the audience saw when the curtain went up on Giselle, Paquita, Le Corsaire, La Bayadère, and Raymonda than has heretofore been possible. Drawing on archival documents, the authors show that (among other things) the classic story ballets could be more like today’s pop entertainment: funnier, more violent, more spectacular, and with female characters far stronger than one might expect. This rigorously researched book fills huge gaps in dance history and is bound to be of interest to practitioners, scholars, and devotees of ballet and the arts.

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25

Ellenzweig, Allen. George Platt Lynes. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190219666.001.0001.

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This is a biography of George Platt Lynes (1907–1955), the gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through his early death. From age eighteen, Lynes entered the cosmopolitan world of the American expatriate community in Paris when he became acquainted with the salon of Gertrude Stein and Alice B. Toklas. Intending to pursue a writing and small-press publishing career, Lynes also began photographing authors like Stein, Jean Cocteau, André Gide, and Colette. Soon, he turned exclusively to photography, establishing himself as one of the premier fashion photographers in the Condé Nast stable, documenting the ballet companies of George Balanchine/Lincoln Kirstein, and pursuing a private obsession with seductive images of young male nudes rarely published in his lifetime. Lynes’s personal life was as glamorous and theatrical as his images with their brilliant studio lighting and dramatic Surrealist setups. Barely out of his teens, he met publisher Monroe Wheeler, who was already in a relationship with emerging expatriate novelist Glenway Wescott. The peripatetic threesome maintained a polyamorous connection that lasted some fifteen years. Their New York apartment became a mecca for elegant name-dropping dinner parties. Their ménage-a-trois complicates our understanding of the pre-Stonewall gay “closet.” This biography, drawing upon intimate letters and an unpublished memoir of Lynes’s life by his brother, the writer and editor Russell Lynes, paints a portrait of the emerging influence of gays and lesbians across cultural genres that defined transatlantic cosmopolitan culture and presaged later gay political consciousness.

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