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Abbott, Berenice, 227 Abrahams, Roger D., 123 Acconci, Vito, 168 According to Eve (Alvin Ailey American Dance Theater), 27 Accumulation Pieces by Trisha Brown, 61, 87 Accumulation (1971) with Talking (1973) plus Water Motor (1978) (Brown), 87 Acker, Kathy, 317 Acocella, Joan, 5; introductory essay by, xv–xix aesthetics: Armitage and postfeminist, 321; the grotesque, 309–11; Kirstein on beauty in ballet, 304, 305; Levinson on beauty in ballet, 303–5 African dance and music traditions: American culture as infused by, 6, 259–60; authentic performances of, 259–60; Balanchine and, 261– 62; ballet infused with, 311; Banes and interest in, xi–xii; Bolshoi Ballet and, 64–65; dance instruction songs and, 120; European and American dance as infused by, 257– 58; Kyunkor, African heritage dance, 259; religious references in African American dance, 138–39, 143; West African dance, 259–60 Agon (Balanchine), 262, 314–15 Ailey, Alvin, 8, 204; Alvin Ailey American Dance Theater, 27–31 Airs (Taylor), 101 Aladin (magician/performance artist), 247 Albers, Anni, 229 Albers, Josef, 229 Allen, Barbara, 111, 294 Almost Dance, 110–12 Alvin Ailey American Dance Theater, 27–31 Amazeen, Lauren, 296–97 The Amazing Decade (Roth), 240–41n44 American Ballet Theatre, 82, 113 American Dance Machine, 78 American Theater Laboratory, 33, 51, 84 Anderson, Jack, 208, 318 Anderson, John Murray, 346, 357–58n7 Anderson, Laurie, 223, 290 animals as performers. See The Ballet of the Elephants (Balanchine) Anna Karenina (Plisetskaya, Ryzhenko, and Smirnov), 64 363 Index Anti-Social Studies, No 1. through 21 (Robinson ), 277–78 Apartment 6 (Halprin), 277 Apple, Jacki, 320 Arden Court (Taylor), 101–3 Argelander, Ron, 233 Armitage, Karole, 74–75, 207, 290, 291, 311–19; Balanchine and, 314–15; on ballet, 317–18; Cunningham and, 312–13; gender and sexual politics in works, 317–21; Paris Opera Ballet and, 314 Arno, Peter, 346–47 aroma. See olfactory performances Artaud, Antonin, 230 The Arts at Black Mountain College (Harris), 223 Asawa, Ruth, 230 Asel (Vinogradov), 64 Asian dance and movement traditions, 35, 257, 260–61, 265, 307–8 Association of Performing Arts Presenters , 232 Atkinson, Brooks, 349 Atlas, Charles, 51, 313 audience: Dunn’s audience participation compositions, 50, 51; memory and engagement of, 247; Self’s improvisational works including, 17–19; television and gendered, 329; voyeurism and, 95 August 27, 1979–The Girl Can’t Help It (film, Chuma), 75 Aureole (Taylor), 101–2 avant-garde: Balanchine as, 350–51; as Banes’s focus, viii, ix–x, xvii; A Bunch of Experimental Theaters and, 233; critical reception of, 289–90; economic pressures and innovation of, 219–20; Europe vs. U.S. as context for, 220; guerilla theater groups and agit-prop, 231; Kitchen as laboratory environment, 285–86, 289, 292, 293–94; non-Western culture and, 258; as oppositional or anti– institutional, 216–17; as politically or ideologically oriented, 221–22, 231; post–avant-garde art, 289–90; as “research,” 222, 227; universities and colleges as environment for, x–xi, 217–18, 222–23, 232–37 Avins, Jamie, 293–94 “bad girl” art, 320, 329 Baker, Bobby, 250 Baker, Josephine, 262 Bakhtin, Mikhail, viii, 309 Balanchine, George: African dance traditions and, 261–62; Armitage and, 314–15; on audience receptivity to high art, 359n27; as avant-garde, 350–51; ballet innovations and experimentation by, xii, 261–62, 311, 356–57; The Ballet of the Elephants, 344, 347–49, 350, 353, 354, 356–57; female-female duets in works, 353; formal visual design as concern of, 356–57; intellectual property issues and, 201, 204, 205, 210n1; racial integration and, 356; Stravinsky and, 351–52, 358n8 Balanchine Foundation, 7 Balanchine Trust, 205, 208, 190n1 Baldessi, John, 167 Balfe, Judith Huggins, 218 Balieva, Agnessa, 69 ballet: American audiences and introduction to, 350, 352; Armitage and innovation in, 312–19; ballet géographique , 264–65; Bolshoi Ballet, 64– 72, 192, 264; Chinese idiom, 263– 64; dancing on point as innovation in, 215n34; decorum and, 316– 17; Eisenstein’s The Last Conversation , 186–96; elevation and, 304–5; female-female duets in, 353–55; five positionsin,304;inTheGoldwynFollies , 351; the grotesque in, 309–11; as high culture, 351; Indian temple dancers in, 265; infused into hybrid tradition, x, xii, 263–64; innovation in, 310–11; intellectual property 364 Index issues and, 199, 204, 210n1; Levinson on, 303–5; morality and ethos of,306–10,319–21;olfactorycomponents in, 272, 276, 279; pas de deux in, 314–15, 348, 353–54; pas de trois in, 353; pointe work in, 308–9, 316; as presentational...

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