Choreographing Discourses brings together essays published by Mark Franko from 1996 to today. The volume contains the first critical assessments of Franko's contribution to the field, and an interview incorporating a biographical dimension to the development of Franko's work and its relation to his dance and choreography.
Choreographing Discourses brings together essays published by Mark Franko from 1996 to today. The volume contains the first critical assessments of Franko's contribution to the field, and an interview incorporating a biographical dimension to the development of Franko's work and its relation to his dance and choreography.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Mark Franko is Laura H. Carnell Professor of Dance at Boyer College of Music and Dance, Temple University (Philadelphia). Founding editor of the Oxford Studies in Dance Theory book series, Franko is currently a Guggenheim Fellow, writing a book on French neoclassical ballet. Alessandra Nicifero is a dance writer and translator based in New York City. Her major interests focus on movement analysis, social choreography, the spatial organization of memories, and archiving dance material. Currently, she is studying at the New York Graduate School of Psychoanalysis.
Inhaltsangabe
Foreword Randy Martin Preface Mark Franko Introduction 1. Gay Morris, Re-conceptualizing Time, Historical Time, and the Time of Interpretation 2. André Lepecki, Theory's moves Chapters 1. Writing for the Body: Notation, Reconstruction, and Reinvention in Dance 2. History/Theory -- Criticism/Practice 3. From Croce's Critical Condition to the Choreographic Public Sphere 4. Splintered Encounters: The Critical Reception of William Forsythe in the United States, 1979-1989 5. Archeological Choreographic Practices: Foucault and Forsythe 6. Figurae: Re-translating the Encounter between Peter Welz, William Forsythe and Francis Bacon 7. Dance and Figurability 8. Can We Inhabit a Dance? Reflections on Dancing the "Bauhaus Dances" in Dessau 9. The Readymade as Movement: Cunningham, Duchamp, and Nam June Paik's Two Merces 10. Dance as Sign and Unruly Corporeality in Pasolini's Film and Theory 11. The Dancing Gaze Across Cultures: Kazuo Ohno's Admiring La Argentina 12. Bausch and The Symptom 13. The Quarrel of the Queen and the Transvestite: Sexuality, Class and Subculture in Paris is Burning 14. Dance, the De-materialization of Labor, and the Productivity of the Corporeal 15. In the Company of Donya Feuer: an Interdisciplinary Method 16. In Conversation: Alessandra Nicifero with Mark Franko Bibliography Publications Performance History Choreography, Performance Index
Foreword Randy Martin Preface Mark Franko Introduction 1. Gay Morris, Re-conceptualizing Time, Historical Time, and the Time of Interpretation 2. André Lepecki, Theory's moves Chapters 1. Writing for the Body: Notation, Reconstruction, and Reinvention in Dance 2. History/Theory -- Criticism/Practice 3. From Croce's Critical Condition to the Choreographic Public Sphere 4. Splintered Encounters: The Critical Reception of William Forsythe in the United States, 1979-1989 5. Archeological Choreographic Practices: Foucault and Forsythe 6. Figurae: Re-translating the Encounter between Peter Welz, William Forsythe and Francis Bacon 7. Dance and Figurability 8. Can We Inhabit a Dance? Reflections on Dancing the "Bauhaus Dances" in Dessau 9. The Readymade as Movement: Cunningham, Duchamp, and Nam June Paik's Two Merces 10. Dance as Sign and Unruly Corporeality in Pasolini's Film and Theory 11. The Dancing Gaze Across Cultures: Kazuo Ohno's Admiring La Argentina 12. Bausch and The Symptom 13. The Quarrel of the Queen and the Transvestite: Sexuality, Class and Subculture in Paris is Burning 14. Dance, the De-materialization of Labor, and the Productivity of the Corporeal 15. In the Company of Donya Feuer: an Interdisciplinary Method 16. In Conversation: Alessandra Nicifero with Mark Franko Bibliography Publications Performance History Choreography, Performance Index
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