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Performance at the End of the Twentieth Century
Through her engaged and articulate essays in the Village Voice, C. Carr has emerged as the cultural historian of the New York underground and the foremost critic of performance art. On Edge brings together her writings to offer a detailed and insightful history of this vibrant brand of theatre from the late 70s to today. It represents both Carr's analysis as a critic and her testament as a witness to performances which, by their very nature, can never be repeated.
Carr has organized this collection both chronologically and thematically, ranging from the emphasis on bodily manipulation/endurance in the 70s to the underground club scene in New York to an insider's analysis of the Tompkins Square Riot as a manifestation of the cultural and social conflicts that underlie much of performance art. She examines the transgressive and taboo-shattering work of Ethyl Eichelberger, Karen Finley, and Holly Hughes; documents specific performances by Annie Sprinkle and Lydia Lunch; and maps the development of such artists as Robbie McCauley, Blue Man Group, and John Jesurun. She also describes the "cross-over" phenomenon of the mid-80s and considers the far-right backlash against this mainstreaming as cultural reactionaries sought to curb the influence of these new artists.
CONTRIBUTORS: Linda Montano, Chris Burden, G.G Allin, Jean Baudrillard, Patty Hearts, Dan Quayle, Anne Magnouson, John Jesurun, John Kelly, Shu Lea Changvv, Diamanda Galas, Salley May, Rafael Mantanez Ortiz, Sherman Fleming, Kristine Stiles, Laurie Carlos, Jessica Hafedorn, Robbie McCormick, Karen Finley, Poopo Shiraishi, Donna Henes, Holey Hughe, Ela Troyano, Michael Smith, Harry Koipper, John Sex, Nina Jagen, Ethyl Eichelberge, Marina Abramovic, Ulay.
Ebook Edition Note: All illustrations have been redacted from the ebook edition.
Soloists and the Modern Dance Canon
Soloists ignited the modern dance movement and have been a source of its constant renewal. Pioneering dancers such as Loïe Fuller, Isadora Duncan, Ruth St. Denis, and Maud Allan embodied the abstraction and individuality of the larger modernist movement while making astounding contributions to their art. Nevertheless, solo dancers have received far less attention in the literature than have performers and choreographers associated with large companies.
In On Stage Alone, editors Claudia Gitelman and Barbara Palfy take an international approach to the solo dance performance. The essays in this standout volume broaden the dance canon by bringing to light modern dance soloists from Europe, Asia, and the Americas who have shaped significant, sustained careers by performing full programs of their own choreography.
Featuring in-depth examinations of the work of artists such as Michio Ito, Daniel Nagrin, Ann Carlson, and many others, On Stage Alone reveals the many contributions made by daring solo dancers from the dawn of the twentieth century through today. In doing so, it explores many important statements these soloists made regarding topics such as freedom, personal space, individuality, and gender in the modern era.
On Technique provides a fascinating look into the careers and teaching philosophies of eighteen of the world’s most respected ballet masters, principals, and artistic directors. Author Dean Speer sat down with prominent ballet pedagogues and asked each a standard set of questions, including "What do we mean when we say someone has beautiful technique?" and "How did you become a dancer?"
Featuring such artists as Peter Boal (artistic director of the Pacific Northwest Ballet) and Bene Arnold (first ballet mistress of the San Francisco Ballet), this volume offers fascinating insights into the nature of both performance and artistic instruction. Speer's approach reveals sometimes surprising convergences among these world-class talents, despite their varying pedagogical backgrounds and divisions.
A Somatic Guide to Dancing and Dance Making
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
À notre époque, les nouvelles technologies contribuent largement à l’évolution des langages scéniques modifiant profondément les conditions de représentation et intensifi ant toujours davantage les effets de présence et les effets de réel. Ces technologies sont souvent liées à l’émergence de nouvelles formes scéniques qui transgressent les limites des disciplines et se caractérisent par des spectacles à l’identité instable, mouvante, en perpétuelle redéfi nition. Projections, installations interactives, environnements immersifs, spectacles sur la toile, les sens(ations) sont plus que jamais sollicité(e)s. Le performeur y est confronté à un Autre virtuel, à la fois personnage et partenaire. Quant au corps, charnel, physique, palpable, il constitue encore la trace incontestée de l’homme dans ces espaces où la déréalisation fait loi. Contre-point d’une culture du virtuel, le corps semble rester au coeur des dispositifs (scénique, interactif, immersif). Quel(s) corps ces oeuvres convoquent-elles ? Comment ces dernières renouvellent-elles la dynamique entre performeurs, spectateurs et dispositifs ? Quelles sont les diverses modalités d’interpénétration entre le virtuel et le réel dans ces formes d’art ?
New Perspectives on the Romantic Ballet
Rethinking the Sylph gathers essays by a premier group of international scholars to illustrate the importance of the romantic ballet within the broad context of western theatrical dancing. The wide variety of perspectives -- from social history to feminism, from psychoanalysis to musicology -- serves to illuminate the modernity of the Romantic ballet in terms of vocabulary, representation of gender, and iconography. The collection highlights previously unexplored aspects of the Romantic ballet, including its internationalism; its reflection of modern ideas of nationalism through the use and creation of national dance forms; its construction of an exotic-erotic hierarchy, and proto-orientalist "other"; its transformation of social relations from clan to class; and the repercussions of its feminization as an art form. This generously illustrated book offers a wealth of rare archival material, including prints, costume designs, music, and period reviews, some translated into English for the first time.
Rituals and Remembrances
Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic---Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others---highlighting contemporary popular, folkloric, and religious music and dance. By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance are the living evidence of a constant (re)composition and (re)mixing of local sounds and gestures. Rhythms of the Afro-Atlantic World distinguishes itself as a collection focusing on the circulation of cultural forms across the Atlantic world, tracing the paths trod by a range of music and dance forms within, across, or beyond the variety of locales that constitute the Atlantic world. The editors and contributors do so, however, without assuming that these paths have been either always in line with national, regional, or continental boundaries or always transnational, transgressive, and perfectly hybrid/syncretic. This collection seeks to reorient the discourse on cultural forms moving in the Atlantic world by being attentive to the specifics of the forms---their specific geneses, the specific uses to which they are put by their creators and consumers, and the specific ways in which they travel or churn in place. Mamadou Diouf is Leitner Family Professor of African Studies, Director of the Institute of African Studies, and Professor of History at Columbia University. Ifeoma Kiddoe Nwankwo is Associate Professor of English at Vanderbilt University.
The Racial Politics of Music and Dance in North American Slavery
In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved.As Thompson shows, however, blacks' "backstage" use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion.Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots.