A transdisciplinary approach to practice-as-research, complete with its own elaborate theory of practice and a set of four multi-year-performance research projects through which the theory plays out.
'When directors understand the value of a movement director they remove any sense of hierarchy within the room and place movement directors firmly by their side for they are and should be their co-pilot, navigating and creating the world of the play.
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint.
Wars in this century are radically different from the major conflicts of the 20th century--more amorphous, asymmetrical, globally connected, and unending.
'When directors understand the value of a movement director they remove any sense of hierarchy within the room and place movement directors firmly by their side for they are and should be their co-pilot, navigating and creating the world of the play.
Martha Graham's name was internationally recognized as part of the modern dance world, and though trends in choreography continue to change, her influence on dance as an art form endures.
Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance's central and defining features.
In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity.
Characterized by grandiose song-and-dance numbers featuring ornate geometric patterns and mimicked in many modern films, Busby Berkeley's (1895-1976) unique artistry is as recognizable and striking as ever.
Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm.
Martha Graham's name was internationally recognized as part of the modern dance world, and though trends in choreography continue to change, her influence on dance as an art form endures.
Wars in this century are radically different from the major conflicts of the 20th century--more amorphous, asymmetrical, globally connected, and unending.
Ever since George Balanchine arrived on the American dance scene in 1933, his revolutionary, fleet-footed repertoire has been immortalized in the ballet canon.
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint.
In distinction to many extant histories of ballet, The Oxford Handbook of Contemporary Ballet prioritizes connections between ballet communities as it interweaves chapters by scholars, critics, choreographers, and working professional dancers.
In distinction to many extant histories of ballet, The Oxford Handbook of Contemporary Ballet prioritizes connections between ballet communities as it interweaves chapters by scholars, critics, choreographers, and working professional dancers.
In this sparkling, innovative, fully-illustrated work, world-renowned choreographer Annie-B Parson translates the components of dance-time, proximity, space, motion and tone- into text.
Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance's central and defining features.
A transdisciplinary approach to practice-as-research, complete with its own elaborate theory of practice and a set of four multi-year-performance research projects through which the theory plays out.
A NEW YORK TIMES BESTSELLER One of the world's legendary artists and bestselling author of The Creative Habit shares her secretsfrom insight to actionfor harnessing vitality, finding purpose as you age, and expanding one's possibilities over the course of a lifetime in her newest New York Times bestseller Keep It Moving.
A “lively biography” of the director who choreographed Fred Astaire, Debbie Reynolds and more: “a real backstager” on the making of Hollywood musicals (Wall Street Journal).
