Foremost stage directors describe their working process: JoAnne Akalaitis, Arvin Brown, Ren Buch, Martha Clarke, Gordon Davidson, Robert Falls, Zelda Fichandler, Richard Foreman, Adrian Hall, John Hirsch, Mark Lamos, Marshall W.
';Directors today are equipped with a larger toolbox than their forerunners, standing on their shoulders as well as those of pioneers in non-Western theater, experimental visual art, community-based theater, and the ever-evolving commercial theater scene.
Empire of Ecstasy offers a novel interpretation of the explosion of German body culture between the two wars-nudism and nude dancing, gymnastics and dance training, dance photography and criticism, and diverse genres of performance from solo dancing to mass movement choirs.
This interdisciplinary book brings together essays that consider how the body enacts social and cultural rituals in relation to objects, spaces, and the everyday, and how these are questioned, explored, and problematised through, and translated into dance, art, and performance.
This volume explores the history of dance on the historically black college and university (HBCU) campus, casting a first light on the historical practices and current state of college dance program practice in HBCUs.
This book traces an engagement between intercultural dance company Marrugeku and unceded lands of the Yawuru, Bunuba, and Nyikina in the north west of Australia.
This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core.
This book offers new ways of thinking about dance-related artworks that have taken place in galleries, museums and biennales over the past two decades as part of the choreographic turn.
This book investigates the phenomenological ways that dance choreographing and dance performance exemplify both Truth and meaning-making within Native American epistemology, from an analytic philosophical perspective.
This book examines men, masculinities and sexualities in Western theatrical dance, offering insights into the processes, actions and interactions that occur in dance institutions around gender-transgressive acts, and the factors that set limits to transgression.
Dance and the Arts in Mexico, 1920-1950 tells the story of the arts explosion that launched at the end of the Mexican revolution, when composers, choreographers, and muralists had produced state-sponsored works in wide public spaces.
Dès le début du X Xe siècle aux États-Unis, le rejet de l’art académique classique en faveur d’une danse expressive et expressionniste est à l’origine d’une révolution esthétique.
In den 1920er-Jahren gerät nicht nur die Welt, sondern auch die Musik und das Musikleben ins Taumeln: zwischen Krise und Aufbruch, Abschottung und Austausch, dem sehnsüchtigen Blick zurück und neuer Dynamik.
Dancing Mind, Minding Dance encompasses a collection of pivotal texts published by scholar and researcher Doug Risner, whose work over the past three decades has emphasized the significance of social relevance and personal resonance in dance education.
The untold story of how breaking - one of the most widely practiced dance forms in the world today - began as a distinctly African American expression in the Bronx, New York, during the 1970s.
The untold story of how breaking - one of the most widely practiced dance forms in the world today - began as a distinctly African American expression in the Bronx, New York, during the 1970s.
The Memory Palace of Bones: Exploring Embodiment Through the Skeletal System is an unprecedented exploration of the anatomy of the bones of the body, and a unique set of reflections on the role each individual bone plays in our lives, looking at both its physical and energetic contributions.
This book contributes to the growing scientific literature on 'intangible cultural heritage' - determined by UNESCO to be particularly worthy of safeguarding and transmission - by advancing a theoretical-analytical framework for the (in)tangible cultural heritage of dance.
This book offers an inside view of ballet as the art form we see on stages today, detailing how expressive movement is initiated and controlled, and discussing the importance of embedding creativity and expressivity within ballet technique from the dancer's first lesson to their final performance.
This book offers an inside view of ballet as the art form we see on stages today, detailing how expressive movement is initiated and controlled, and discussing the importance of embedding creativity and expressivity within ballet technique from the dancer's first lesson to their final performance.
This book contributes to the growing scientific literature on 'intangible cultural heritage' - determined by UNESCO to be particularly worthy of safeguarding and transmission - by advancing a theoretical-analytical framework for the (in)tangible cultural heritage of dance.
