Bibliografías temáticas / Postmoderne dance

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Literatura académica sobre el tema "Postmoderne dance"

Autor: Grafiati
Publicado: 31 de agosto de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Postmoderne dance"

1

Osumare, Halifu. "Choreographing Social Change: Reflections on Dancing in Blackness." Dance Research Journal 53, no. 2 (2021): 130–42. http://dx.doi.org/10.1017/s0149767721000218.

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AbstractThis autoethnography explores a dance scholar's previous choreographic trajectory, positioning the author's career within the sixties and seventies Black Arts Movement for social change. I explore several iterations of my dance lecture-demonstration in particular, which was produced over two decades and three continents, demonstrating how temporal and spatial shifts affect the content and context of a choreographic work. Additionally, I explore my shift into arts producing through my national dance initiative that helped define the work of eighties Black choreographers in the postmoder
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Njaradi, Dunja. "Rethinking participation through dance: A historical-theoretical intersection." Bulletin de l'Institut etnographique 70, no. 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.

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The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the ta
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von Rosen, Astrid. "Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans." Nordic Journal of Dance 11, no. 1 (2020): 4–15. http://dx.doi.org/10.2478/njd-2020-0002.

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AbstractThe article combines Critical Archival Studies theory about agency and activism with an empirical exploration of dance history in Gothenburg, Sweden’s second city. It focuses on Anna Wikström’s Academy for Dance (1930-1965), an education which has not been explored in previous research. A previous member of The Swedish Ballet, Wikström offered her students courses in artistic dance, dance as physical exercise, pedagogy, and social dancing. Thereby, her broad education differed from the narrow, elitist Ballet School at The Stora Teatern. The article accounts for how the collaboration be
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Sirotkina, Irina. "Desire vs Biopower: Dance Revolution of the Twentieth Century." Sociology of Power 29, no. 2 (2017): 97–115. http://dx.doi.org/10.22394/2074-0492-2017-2-97-115.

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The article deals with the dance revolution of the twentieth century - the emergence of "new dance” in which desire is produced, and not simply represented. Contemporary dance places the emphasis on spontaneity, the autonomous functioning of the body, and improvisation. There are at least two basic conceptions of desire in philosophy: the first is mimetic desire of the other (longing for a recognition from the other) and bodily desire (which corresponds to libido in psychoanalysis). The first conception had been proposed by Hegel and developed by A. Kojève and René Girard, the second - by Niet
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Sirotkina, I.E. "Desire vs Biopower: Dance Revolution of the Twentieth Century." Sociology of Power, no. 2 (June 7, 2017): 97–115. https://doi.org/10.22394/2074-0492-2017-2-97-115.

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The article deals with the dance revolution of the twentieth century - the emergence of "new dance” in which desire is produced, and not simply represented. Contemporary dance places the emphasis on spontaneity, the autonomous functioning of the body, and improvisation. There are at least two basic conceptions of desire in philosophy: the first is mimetic desire of the other (longing for a recognition from the other) and bodily desire (which corresponds to libido in psychoanalysis). The first conception had been proposed by Hegel and developed by A. Kojève and René Girard,
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6

Alderson, Evan. "Dance and Postmodern Communities." Contemporary Theatre Review 6, no. 4 (1997): 63–74. http://dx.doi.org/10.1080/10486809708568436.

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7

Boiko, Olha. "Dance Performances as an Art Phenomenon." Bulletin of KNUKiM. Series in Arts, no. 35 (December 1, 2016): 69–77. https://doi.org/10.31866/2410-1176.35.2016.158246.

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The purpose of the article is to reveal the specificity of on- and off-stage dance performances. The research methodology consisted in the integration of the systematization of approaches to the definition of the concept of «performance», the extrapolation of theoretical concepts of performance into the sphere of choreography, and the art critical analysis of dance performative practices. The scientific novelty of the work lies in revealing the morphological features of on- and off-stage dance performances. Conclusions. The overwhelming majority of contemporary choreographic perfor
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8

Stanich, Veronica Dittman. "Turning the World Upside Down." Dance Research 36, no. 2 (2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.

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A particular movement – inverting the body to a tail-over-head orientation and fleetingly taking weight on the hands – has been a staple of postmodern dance training and choreography since the early 1990s, yet it remains unnamed and uncodified. Taking a material culture studies approach, I examine this movement closely, using interviews, observation, historical analysis, and a survey of dance practitioners to situate this not-exactly-a-handstand within the field of American postmodern dance. These multiple perspectives yield new insights into the field, its practitioners, and its relationship
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Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.

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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Ra
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UCHIYAMA, Sumiko. "Semantics of dance for postmodern." Journal of the Philosophy of Sport and Physical Education 21, no. 2 (1999): 1–9. http://dx.doi.org/10.9772/jpspe1979.21.2_1.

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Tesis sobre el tema "Postmoderne dance"

1

Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /." Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.

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Stanich, Veronica Dittman. "Poetics and Perception: Making Sense of Postmodern Dance." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1402089308.

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3

Forster, Lou. "Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.

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Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentat
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Griffiths, Carolyn Margaret. "Tracing image and bodily displacement in modern and postmodern dance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1362.

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Through time the dancer has been both celebrated and disadvantaged by antithetical ideas: the division of soul and body, form and matter, life and death, artist and audience. For the romantics, the dancing body stood in a relationship to poetic thought in much the same way as the dancer stood to the body. Notions of the body in early modernism arose from cultural and political constructs through which poets and writers examined the nature of truth. These poets, Yeats in particular, hinted at a premise that a whole history of culture may be necessary to explain why women and art may not be cons
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5

Mathews, Rachel A. "Postmodern Theory and the Choreography of Michael Clark." Thesis, University of Surrey, 1992. https://eprints.qut.edu.au/74785/6/Postmodern%20Theory%20and%20the%20Choreography%20of%20Michael%20Clark_Mathews_1992.pdf.

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This study addresses two interrelated questions: Can postmodern ‘theory’ illuminate an understanding of Michael Clark’s work? and, a sub-question, In which ways, if at all, does Clark’s work demonstrate a postmodern sensibility? Chapter one, the introduction to this study, provides a ‘portrait’ of postmodernism, that is, it addresses the question What is postmodernism? Chapter two is a biography of Michael Clark. The seminal sections to this study, however, are chapters three and four. Here the author blends a discussion of a) subject matter, treatment and meanings in Clark’s choreography
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Monten, Joshua Lee. ""Something old, something new, something borrowed...": eclecticism in postmodern dance." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407405704.

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7

Sears, Linda Roseanne. "Resistant corporealities contemporary British dance-theater /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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Postle, Julia. "Dancing through the postmodern : Australian choreography in relation to postmodernism." Thesis, Queensland University of Technology, 1996.

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Peter, Frank-Manuel. "Zwischen Ausdruckstanz und Postmodern Dance Dore Hoyers Beitrag zur Weiterentwicklung des modernen Tanzes in den 1930er Jahren /." [S.l. : s.n.], 2003. http://www.diss.fu-berlin.de/2004/245/index.html.

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Campbell, Daly Janis. "A perplexing pilgrimage : the spectator as Mitreisender in the Tanztheater of Pina Bausch." Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/a-perplexing-pilgrimage(220e92fb-9910-4017-8174-e85ab543ae95).html.

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Libros sobre el tema "Postmoderne dance"

1

Midol, Nancy. La démiurgie dans les sports et la danse: Consciences traditionnelle, moderne et postmoderne. L'Harmattan, 1995.

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2

Bültzingslöwen, Cora von. Unorthodox: Wegbereiterinnen der tänzerischen Moderne und Postmoderne in Texten und Bildern : Maya Plisetkaya, Marcia Haydée, Gelsey Kirkland, Sylvie Guillem, Pina Bausch. Florian Noetzel Verlag, 2020.

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3

Louis, Murray. Murray Louis on dance. A Cappella Books, 1992.

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4

Tampini, Marina. Cuerpo e ideas en danza: Una mirada sobre el Contact improvisation. IUNA, Instituto Universitario Nacional de Arte, 2012.

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5

Louis, Murray. Murray Louis ondance. A Cappella Books, 1992.

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6

Silva, Eliana Rodrigues. Dança e pós-modernidade. EDUFBA, 2004.

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7

Klein, Susan Blakeley. Ankoku Butō: The premodern and postmodern influences on the dance of Utter Darkness. East Asia Program, Cornell University, 1988.

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8

Rowell, Bonnie. An investigation into critical analysis of postmodern dances. University of Surrey Roehampton, 2003.

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9

Portzamparc, Christian de. De la danse: Ecole du ballet de l'Opéra de Paris à Nanterre. Editions du Demi-Cercle, 1990.

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10

Dyke, Jan Van. Modern dance in a postmodern world: An analysis of federal arts funding and its impact on the field of modern dance. National Dance Association, 1992.

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Capítulos de libros sobre el tema "Postmoderne dance"

1

Banes, Sally. "2.4 Postmodern Dance." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/chlel.xi.15ban.

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Mattingly, Kate. "Modern and Postmodern Dance." In Milestones in Dance History. Routledge, 2022. http://dx.doi.org/10.4324/9781003185918-5.

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Adair, Christy. "We say no — postmodern dance." In Women And Dance. Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22374-9_8.

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4

Dodds, Sherril. "Postmodern Dance Strategies on Television." In Dance on Screen. Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230509580_4.

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Burt, Ramsay. "Masculinity, Dance, and the Postmodern." In The Male Dancer, 3rd ed. Routledge, 2022. http://dx.doi.org/10.4324/9781003159926-7.

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6

Cruz, Décio Torres. "Revisiting the Biblical Tradition: Dante, Blake and Milton in Blade Runner." In Postmodern Metanarratives. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137439734_5.

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Kaye, Nick. "The Collapse of Hierarchies and a Postmodern Dance." In Postmodernism and Performance. Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-23334-2_6.

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8

Servian, Claudie. "Le décentrement dans la danse postmoderne étatsunienne : Une mise en crise de la danse moderne." In De l’invisibilité à la visibilité. Presses universitaires Blaise-Pascal, 2024. https://doi.org/10.4000/132xu.

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Stewart, Nigel. "A Theological Turn? French Postmodern Dance and Herman Diephuis’s D’Après J.-C." In Contemporary French Theatre and Performance. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305663_16.

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10

Pakes, Anna. "Postmodern Works." In Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.003.0005.

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Chapter 4 explores the continuing operation of the work-concept in postmodern and contemporary dance, as well as a range of ways in which that concept has been challenged. The institutionalisation of choreographic authorship within modern dance is contrasted with critiques of authorship developed through American postmodern and subsequently European conceptual dance, both of which place renewed emphasis on the creative role of the dancer. The chapter also highlights the range of subject matter tackled by Western theatre dance since the mid-twentieth century and the polysemic character of many
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