In this Book

Through the Eyes of a Dancer
summary
Through the Eyes of a Dancer compiles the writings of noted dance critic and editor Wendy Perron. In pieces for The SoHo Weekly News, Village Voice, The New York Times, and Dance Magazine, Perron limns the larger aesthetic and theoretical shifts in the dance world since the 1960s. She surveys a wide range of styles and genres, from downtown experimental performance to ballets at the Metropolitan Opera House. In opinion pieces, interviews, reviews, brief memoirs, blog posts, and contemplations on the choreographic process, she gives readers an up-close, personalized look at dancing as an art form. Dancers, choreographers, teachers, college dance students--and anyone interested in the intersection between dance and journalism--will find Perron's probing and insightful writings inspiring. Through the Eyes of a Dancer is a nuanced microcosm of dance's recent globalization and modernization that also provides an opportunity for new dancers to look back on the traditions and styles that preceded their own.

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Through the Eyes of a Dancer
  2. pp. 2-3
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  1. Title
  2. pp. 4-4
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  1. Copyright
  2. pp. 5-5
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  1. Dedication
  2. pp. 6-7
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  1. Contents
  2. pp. vii-x
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  1. List of Illustrations
  2. pp. xi-xii
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  1. Acknowledgments
  2. pp. xiii-xiv
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  1. Introduction
  2. pp. xv-xxiv
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  1. I. The Sixties
  2. pp. 1-2
  1. One Route from Ballet to Postmodern
  2. pp. 3-16
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  1. II. The Seventies
  2. pp. 17-18
  1. Barbara Lloyd (Dilley)
  2. pp. 19-20
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  1. Followable Dancing: Mary Overlie and David Gordon
  2. pp. 21-23
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  1. People Improvisation: Grand Union
  2. pp. 24-26
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  1. Consuming Determination: Lucinda Childs
  2. pp. 27-28
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  1. Older Is Better
  2. pp. 29-31
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  1. Exporting SoHo
  2. pp. 32-36
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  1. Improvisation: The Man Who Gets Away with It—Radio Host James Irsay
  2. pp. 37-38
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  1. Only an Illusion: On Street Performers
  2. pp. 39-41
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  1. Starting from Nothing: Michael Moschen
  2. pp. 42-44
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  1. Masters of Surprise: Baryshnikov and Astaire
  2. pp. 45-49
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  1. Interview with Susan Sontag: On Writing, Art, Feminism, Life, and Death
  2. pp. 50-57
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  1. Dumb Art: Beautiful but Not Too Bright
  2. pp. 58-64
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  1. III. The Eighties
  2. pp. 65-68
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  1. Bausch, Brecht, and Sex: Kontakthof by Pina Bausch
  2. pp. 69-71
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  1. The Structure of Seduction
  2. pp. 72-74
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  1. Book Review: The Intimate Act of Choreography
  2. pp. 75-80
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  1. The Holes in Tin Quiz—Notes on My Duet
  2. pp. 81-82
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  1. Containing Differences in Time—My Choreographic Process
  2. pp. 83-91
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  1. Shoot for the Moon, but Don’t Aim Too Hard—On J. D. Salinger
  2. pp. 92-98
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  1. IV. The Nineties
  2. pp. 99-100
  1. Beware the Egos of Critics
  2. pp. 101-104
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  1. Trisha Brown on Tour
  2. pp. 105-109
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  1. American Dance Guild Concert Review
  2. pp. 110-111
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  1. Love Is the Crooked Thing: Paris Opéra Ballet
  2. pp. 112-113
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  1. Book Review: Jill Johnston’s Marmalade Me Reissued
  2. pp. 114-115
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  1. Looking Back on the “Embodiment of Ecstasy”—Sara Rudner
  2. pp. 116-119
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  1. The Power of Stripping Down to Nothingness—The Butoh Diaspora
  2. pp. 120-123
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  1. The New Russia: Sasha Pepelyaev’s Kinetic Theatre
  2. pp. 124-126
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  1. V. From 2000 to 2004
  2. pp. 127-130
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  1. Seeing Balanchine, Watching Whelan
  2. pp. 131-134
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  1. Merce at Martha@Mother—Richard Move
  2. pp. 135-137
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  1. Moving, Joyfully and Carefully, into Old Age
  2. pp. 138-141
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  1. An Improbable Pair on a Quest into the Past—Baryshnikov and Rainer
  2. pp. 142-146
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  1. Katherine Dunham: One-Woman Revolution
  2. pp. 147-151
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  1. Martha Clarke: Between Terror and Desire
  2. pp. 152-156
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  1. Misha’s New Passion: Judson Dance Theater
  2. pp. 157-162
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  1. Living with AIDS: Six Dancers Share Their Stories
  2. pp. 163-169
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  1. Irina Loves Maxim—ABT’s Russian Couple
  2. pp. 170-174
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  1. Twyla Tharp: Still Pushing the Boundaries
  2. pp. 175-181
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  1. The Struggle of the Black Artist to Dance Freely
  2. pp. 182-185
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  1. A Dance Turns Darker, Its Maker More American—Patricia Hoffbauer
  2. pp. 186-189
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  1. Paying Heed to the Mysteries of Trisha Brown
  2. pp. 190-194
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  1. East (Coast) Meets West (Coast): Eiko & Koma Collaborate with Anna Halprin
  2. pp. 195-199
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  1. Bill T. Jones Searches for Beauty, and a New Home
  2. pp. 200-204
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  1. Snip, Snip: Dance, Too, Needs Editing
  2. pp. 205-207
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  1. Batsheva Dance Company: Naharin’s Virus
  2. pp. 208-210
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  1. Kirov Classics Hit and Miss
  2. pp. 211-212
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  1. Way Up High, Soaring, Floating, Diving, Dancing—Joanna Haigood
  2. pp. 213-216
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  1. Russia Makes Room for Contemporary Dance
  2. pp. 217-220
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  1. Wendy Whelan: The Edgy Ballerina
  2. pp. 221-224
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  1. VI . From 2004 to 2007
  2. pp. 225-226
  1. Tere O’Connor Dance
  2. pp. 227-252
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  1. Lori Belilove and the Isadora Duncan Dance Company
  2. pp. 228-229
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  1. Susan Marshall & Company
  2. pp. 230-231
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  1. Stan Won’t Dance
  2. pp. 232-257
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  1. Urban Bush Women
  2. pp. 233-258
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  1. Miguel Gutierrez and the Powerful People
  2. pp. 234-235
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  1. American Ballet Theatre
  2. pp. 236-238
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  1. Book Review: Feelings Are Facts: A Life, by Yvonne Rainer
  2. pp. 239-241
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  1. New York City Ballet: Winter Season 2007
  2. pp. 242-245
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  1. Enchanted by Cuba
  2. pp. 246-250
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  1. VII. From 2007 to 2012
  2. pp. 251-252
  1. A Brave, Illuminating, Terrific New Book—Carolyn Brown on Cunningham and Cage
  2. pp. 253-254
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  1. New York City Ballet: Winter Season 2008
  2. pp. 255-257
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  1. New Works Festival: San Francisco Ballet
  2. pp. 258-260
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  1. Akram Khan’s Bahok
  2. pp. 261-262
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  1. Flamenco Master in Silence: Was Israel Galván Improvising?
  2. pp. 263-288
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  1. Trey McIntyre Project
  2. pp. 264-265
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  1. Pacific Northwest Ballet: All Tharp
  2. pp. 266-267
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  1. Boston Ballet: Diaghilev’s Ballets Russes Centennial Celebration
  2. pp. 268-269
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  1. Spoleto Festival (Festival dei 2Mondi)
  2. pp. 270-273
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  1. The Forsythe Company: Decreation
  2. pp. 274-275
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  1. Twyla’s New Musical Flies, But . . .
  2. pp. 276-277
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  1. International Exposure—The Tel Aviv Festival
  2. pp. 278-281
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  1. Lemi Ponifasio
  2. pp. 282-307
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  1. Necessary Weather (revival)—Dana Reitz and Sara Rudner
  2. pp. 283-308
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  1. Why Don’t Women Make Dances Like That Any More?
  2. pp. 284-285
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  1. Blogging about the Process of Choreography—Ugh!
  2. pp. 286-287
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  1. The Times They Are A-Changin’
  2. pp. 288-291
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  1. Biennale de la Danse de Lyon
  2. pp. 292-294
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  1. Ralph Lemon
  2. pp. 295-320
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  1. Crystal Pite
  2. pp. 296-297
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  1. Politeness: Is It Crucial to the Future of Ballet?
  2. pp. 298-300
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  1. National Ballet of Canada
  2. pp. 301-302
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  1. Is Appropriation the Same as Stealing and Why Is It Happening More Now?
  2. pp. 303-306
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  1. Is There a Blackout on Black Swan’s Dancing?
  2. pp. 307-308
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  1. Putting the Black Swan Blackout in Context
  2. pp. 309-310
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  1. Can a Floor Give You Spiritual Energy? Ask Jared Grimes
  2. pp. 311-312
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  1. Eiko & Koma: The Unnatural Side of Communing with Nature
  2. pp. 313-315
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  1. Merce’s Other Legacy
  2. pp. 316-317
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  1. A Debate on Snark
  2. pp. 318-320
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  1. The Joffrey Ballet
  2. pp. 321-322
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  1. Afterword
  2. pp. 323-324
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  1. Credits
  2. pp. 325-326
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  1. Index
  2. pp. 327-343
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