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Książki na temat „Dance action”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 11 lutego 2022

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1

Moya, Horacio Castellanos. Dance with snakes. Emeryville [Ont.]: Biblioasis, 2009.

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2

Paula, Springer Lee, red. Dance with snakes. Emeryville [Ont.]: Biblioasis, 2009.

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3

Dance for a diamond. Anstey: F. A. Thorpe, 1988.

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4

Murphy, Christopher. Dance for a diamond. London: Secker & Warburg, 1985.

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5

Ormerod, Jan. Emily dances: A novelty action book. New York: Tupelo Books, 1999.

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6

ill, Trynan Amit, red. Frog legs: A picture book of action verse. New York: Greenwillow Books, 2000.

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7

Dance/movement therapists in action: A working guide to research options. Wyd. 2. Springfield, Ill: Charles C Thomas, 2012.

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8

Lamberti, Irene. Spirit in action: Moving meditations for peace, insight, and personal power. New York: Ballantine Wellspring, 2000.

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9

Streb, Elizabeth. Streb: How to become an extreme action hero. New York: The Feminist Press, 2010.

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10

Streb: How to become an extreme action hero. New York: Feminist Press, 2010.

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11

European, League of the Institutes of the Arts (conference) (3-5. July 1992 Pont a. Mousson France). Actions for dance: Issues and strategies for dance in Europe. Pont a Mousson: ELIA, 1992.

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12

San Francisco (Calif.). Office of the Controller. City Services Auditor Division. Board of Supervisors: Political activity audit : Footloose Dance Company, Inc. San Francisco: Office of the Controller, 2006.

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13

Vēṇu, Ji. Mohiniyāṭṭaṁ, the lāsya dance: Acting manual with notations of mudra-s and postures. Wyd. 2. Kerala: Natana Kairali, 1995.

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14

The six questions: Acting technique for dance performance. Pittsburgh, Pa: University of Pittsburgh Press, 1997.

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15

Dramatic dance: An actor's approach to dance as a dramatic art. London: Bloomsbury Methuen Drama, 2014.

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16

Tufnell, Miranda. Body space image: Notes towards improvisation and performance. London: Virago, 1990.

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17

Chris, Crickmay, red. Body, space, image: Notes towards improvisation and performance. London: Dance Books, 1993.

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18

Dance of the thunder dogs. New York: Berkley Prime Crime, 2004.

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19

Donleavy, J. P. The destinies of Darcy Dancer, gentleman. New York, NY: Atlantic Monthly Press, 1990.

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20

Murray, Simon David. Physical theatres: A critical introduction. New York: Routledge, 2007.

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21

Movement training for the modern actor. New York: Routledge, 2009.

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22

Laban for actors and dancers: Putting Laban's movement theory into practice : a step-by-step guide. New York: Routledge, 1993.

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23

Newlove, Jean. Laban for actors and dancers: Putting Laban's movement theory into practice : a step-by-step guide. London: Nick Hern Books, 1993.

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24

San Francisco (Calif.). Office of the Controller. City Services Auditor Division. Board of Supervisors: San Francisco Senior Action Network did not use City funds for political purposes. San Francisco: Office of the Controller, 2006.

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25

Richard, Aven, red. Acting: Preparation, practice, performance. New York: HarperCollins College Publishers, 1994.

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26

Barba, Eugenio. El arte secreto del actor: Diccionario de antropología teatral. Wyd. 2. [Cuba]: Ediciones Alarcos, 2007.

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27

First Action Dance. Ramboro Books PLC, 1997.

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28

First Action Dance. Ramboro Books PLC, 1997.

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29

(Illustrator), Linda G. Rich, red. Dance (First Action Skills). Collins, 1990.

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30

Dance (First Action Skills). Collins, 1990.

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31

Murphy, Christopher. Dance fora diamond. Corgi, 1989.

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32

Roffey, Maureen. Hop, Dance, Jump: Action Words and Fabulous Flaps. Reader's Digest, 2005.

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33

Rennie, Anne McCullagh. When the Snow Gums Dance. Penguin Random House, 2013.

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34

Shuppan, Elte, i Elte Shappan Editorial. Pose File 4: Dance Action (Pose File, Vol 4). Books Nippan, 1993.

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35

Schlapbach, Karin. Epilogue: Dance as Experience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.003.0008.

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The epilogue synthesizes the insights gained from the preceding chapters. The observation that non-representational dances trigger interpretations in the internal audiences highlights at once the capability of dance to go beyond representation and the need to find meaning in it. Just as the dancers are affected by the physical reality of their performance, so the spectators too are affected by the physical presence of the dancers. Dance is performative and dynamic, and its way to cognition and action is experience. Dance reconciles opposites by encapsulating vitality and disruption, rational patterns and sensory experience, presence and transience, active and passive. The mimesis of dance interacts in many ways with the pragmatic contexts of its performance, making it a powerful cultural force.

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36

Functional Awareness: Anatomy in Action for Dancers. Oxford University Press, Incorporated, 2016.

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37

Romita, Nancy, i Allegra Romita. Functional Awareness: Anatomy in Action for Dancers. Oxford University Press, Incorporated, 2016.

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38

Dalglish, David. Dance of Shadows. Orbit, 2014.

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39

Murphy, Christopher. Dance for a Diamond (Ulverscroft Large Print). Ulverscroft Large Print, 1988.

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40

Dalglish, David. A dance of mirrors. 2013.

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41

(Foreword), Joan Chodorow, red. Dance/Movement Therapists in Action: A Working Guide to Research Options. C.C. Thomas, 2004.

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42

Dance/Movement Therapists in Action: A Working Guide to Research Options. C.C. Thomas, 2004.

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43

Croft, Clare, red. Queer Dance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.001.0001.

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Queer Dance argues that dance has a particular charge in the larger field of queer activism and study because it emphasizes and offers language for how public, physical action can be a force of social change. It considers how queer dance has political potential and how it could productively challenge more conservative dance forms, both in terms of making meaning and in terms of institutional practices. Queer Dance brings together artists and scholars in a multi-platformed project—book, website, and live performance series—to ask: “What does dancing queerly challenge us toward?” The artists and scholars whose writing appears in the book and whose performances and filmed interviews appear online, stage a wide range of genders and sexualities as a way to challenge and destabilize social norms. Queer dance is a coalitional project, a gathering that works across LGBTQ identities and in concert with feminist, anti-racist, and anti-colonial artmaking, activism, and scholarship. The book engages with dance-making, dance scholarship, queer studies, and a host of other fields, always asking how identities, communities, and artmaking and scholarly practices might consider what queer work the body does and can do. Might the slide of a hand across a hipbone be just as much an act of coming out as an announcement offered in words? How does queerness exist in the realm of affect and touch, and what then might be revealed about queerness through these pleasurable and complex bodily ways of knowing?

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44

Castle, Egerton. Marshfield, The Observer And The Death-Dance: Studies Of Character And Action. Kessinger Publishing, LLC, 2007.

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45

Castle, Egerton. Marshfield, The Observer And The Death-Dance: Studies Of Character And Action. Kessinger Publishing, LLC, 2007.

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46

Spirit in Action: Moving Meditations for Peace, Insight, and Personal Power. Wellspring/Ballantine, 2000.

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47

Schlapbach, Karin. The Anatomy of Dance Discourse. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.001.0001.

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This book makes an original contribution to the newly thriving field of ancient Greek and Roman performance and dance studies. It offers a better grasp of ancient perceptions and conceptualizations of dance through the lens of literary texts. It gives attention not only to the highly encoded genre of pantomime, which dominates the stages in the Roman Empire, but also to acrobatic, non-representational dances. It is distinctive in its juxtaposition of ancient theorizations of dance with literary depictions of dance scenes. Part I explores the contact zones of ancient dance discourse with other areas of cultural expression, especially language and poetry, rhetoric and art, and philosophy and religion. Part II discusses ekphraseis of dance performances in prose and poetry. The main bulk of the book focuses roughly on the second century CE (discussing Plutarch, Lucian of Samosata, Athenaeus, the apocryphal Acts of John, Longus, and Apuleius), with excursions to Xenophon and Nonnus. Dance is performative and dynamic, and its way to cognition and action is physical experience. This book argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing.

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48

Macgregor, Rob. Indiana Jones and the Dance of the Giants (Indiana Jones). Bantam, 1991.

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49

Pendleton, Don. The Executioner: Zero Tolerance (Death Dance, 229). DH Audio, 2000.

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50

Farnell, Brenda. Human Action Signs in Cultural Context: The Visible and the Invisible in Movement and Dance. The Scarecrow Press, Inc., 1995.

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