Dance on Its Own Terms
Histories and Methodologies
Herausgeber: Bales, Melanie; Eliot, Karen
Dance on Its Own Terms
Histories and Methodologies
Herausgeber: Bales, Melanie; Eliot, Karen
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Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance.
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Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance.
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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press
- Seitenzahl: 456
- Erscheinungstermin: 1. Juni 2013
- Englisch
- Abmessung: 234mm x 156mm x 27mm
- Gewicht: 771g
- ISBN-13: 9780199940004
- ISBN-10: 0199940002
- Artikelnr.: 36597102
- Verlag: Oxford University Press
- Seitenzahl: 456
- Erscheinungstermin: 1. Juni 2013
- Englisch
- Abmessung: 234mm x 156mm x 27mm
- Gewicht: 771g
- ISBN-13: 9780199940004
- ISBN-10: 0199940002
- Artikelnr.: 36597102
Melanie Bales is Professor of Dance at The Ohio State University and author of The Body Eclectic: Evolving Practices in Dance Training (Illinois, 2007). Karen Eliot is also Professor of Dance at The Ohio State University and author of Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (Illinois, 2007)
* INTRODUCTION
* SECTION ONE: In the moment of re-creation and performance
* Section One Introduction
* Chapter 1: "Dancing the Canon in Wartime: Sergeyev, de Valois, and
Inglesby and the Classics of British Ballet," Karen Eliot
* Chapter 2: "Reimagining Le Boeuf sur le Toit," Ann Dils
* Chapter 3: "Reframing the Recent Past: Issues of Reconstruction in
Israeli Contemporary Dance," Deborah Friedes Galili
* Chapter 4: "The Body Censored: Dance, Morality and the Production
Code during the Golden Age of the Film Musical," Betsy Cooper
* Chapter 5: "'Single Ladies' is Gay: Queer Performances and Mediated
Masculinities on YouTube," Harmony Bench
* SECTION TWO: Within the body and mind of the dancer and choreographer
* Section Two Introduction
* Chapter 6: "La Cosmografia del minor mondo: Recovering Dance Theory
to Create Today's Baroque Practice," Catherine Turocy
* Chapter 7: "Touchstones of Tradition and Innovation: Pas de Deux by
Petipa, Balanchine and Forsythe," Melanie Bales
* Chapter 8: "Pavlova and her Daughters: Genealogies of Contingent
Autonomy," Carrie Gaiser Casey
* Chapter 9: "Joined-up Fragments in A Wedding Bouquet: Ashton, Berners
and Stein," Geraldine Morris
* Chapter 10: "Kaddish at the Wall: The Long Life of Anna Sokolow's
'Prayer for the Dead,'" Hannah Kosstrin
* Chapter 11: "Developing the American Ballet Dancer: The Pedagogical
Lineage of Rochelle Zide-Booth," Jessica Zeller
* SECTION THREE: In the shape of written records
* Section Three Introduction
* Chapter 12: "Recording the Imperial Ballet: Anatomy and Ballet in
Stepanov's Notation," Sheila Marion
* Chapter 13: "Musical Expression in the Bournonville-Løvenskjold La
Sylphide Variation," Rebecca Schwartz-Bishir
* Chapter 14: "Archives of Embodiment: Visual Culture and the Practice
of Score Reading," Victoria Watts
* Chapter 15: "Reading Music, Gesture, and Dualism in Mark Morris' Dido
and Aeneas," Rachael Riggs-Leyva
* Chapter 16: "What's in a Dance? The Complexity of Information in
Writings about Dance," Candace Feck
* CONTRIBUTOR BIOGRAPHIES
* INDEX
* SECTION ONE: In the moment of re-creation and performance
* Section One Introduction
* Chapter 1: "Dancing the Canon in Wartime: Sergeyev, de Valois, and
Inglesby and the Classics of British Ballet," Karen Eliot
* Chapter 2: "Reimagining Le Boeuf sur le Toit," Ann Dils
* Chapter 3: "Reframing the Recent Past: Issues of Reconstruction in
Israeli Contemporary Dance," Deborah Friedes Galili
* Chapter 4: "The Body Censored: Dance, Morality and the Production
Code during the Golden Age of the Film Musical," Betsy Cooper
* Chapter 5: "'Single Ladies' is Gay: Queer Performances and Mediated
Masculinities on YouTube," Harmony Bench
* SECTION TWO: Within the body and mind of the dancer and choreographer
* Section Two Introduction
* Chapter 6: "La Cosmografia del minor mondo: Recovering Dance Theory
to Create Today's Baroque Practice," Catherine Turocy
* Chapter 7: "Touchstones of Tradition and Innovation: Pas de Deux by
Petipa, Balanchine and Forsythe," Melanie Bales
* Chapter 8: "Pavlova and her Daughters: Genealogies of Contingent
Autonomy," Carrie Gaiser Casey
* Chapter 9: "Joined-up Fragments in A Wedding Bouquet: Ashton, Berners
and Stein," Geraldine Morris
* Chapter 10: "Kaddish at the Wall: The Long Life of Anna Sokolow's
'Prayer for the Dead,'" Hannah Kosstrin
* Chapter 11: "Developing the American Ballet Dancer: The Pedagogical
Lineage of Rochelle Zide-Booth," Jessica Zeller
* SECTION THREE: In the shape of written records
* Section Three Introduction
* Chapter 12: "Recording the Imperial Ballet: Anatomy and Ballet in
Stepanov's Notation," Sheila Marion
* Chapter 13: "Musical Expression in the Bournonville-Løvenskjold La
Sylphide Variation," Rebecca Schwartz-Bishir
* Chapter 14: "Archives of Embodiment: Visual Culture and the Practice
of Score Reading," Victoria Watts
* Chapter 15: "Reading Music, Gesture, and Dualism in Mark Morris' Dido
and Aeneas," Rachael Riggs-Leyva
* Chapter 16: "What's in a Dance? The Complexity of Information in
Writings about Dance," Candace Feck
* CONTRIBUTOR BIOGRAPHIES
* INDEX
* INTRODUCTION
* SECTION ONE: In the moment of re-creation and performance
* Section One Introduction
* Chapter 1: "Dancing the Canon in Wartime: Sergeyev, de Valois, and
Inglesby and the Classics of British Ballet," Karen Eliot
* Chapter 2: "Reimagining Le Boeuf sur le Toit," Ann Dils
* Chapter 3: "Reframing the Recent Past: Issues of Reconstruction in
Israeli Contemporary Dance," Deborah Friedes Galili
* Chapter 4: "The Body Censored: Dance, Morality and the Production
Code during the Golden Age of the Film Musical," Betsy Cooper
* Chapter 5: "'Single Ladies' is Gay: Queer Performances and Mediated
Masculinities on YouTube," Harmony Bench
* SECTION TWO: Within the body and mind of the dancer and choreographer
* Section Two Introduction
* Chapter 6: "La Cosmografia del minor mondo: Recovering Dance Theory
to Create Today's Baroque Practice," Catherine Turocy
* Chapter 7: "Touchstones of Tradition and Innovation: Pas de Deux by
Petipa, Balanchine and Forsythe," Melanie Bales
* Chapter 8: "Pavlova and her Daughters: Genealogies of Contingent
Autonomy," Carrie Gaiser Casey
* Chapter 9: "Joined-up Fragments in A Wedding Bouquet: Ashton, Berners
and Stein," Geraldine Morris
* Chapter 10: "Kaddish at the Wall: The Long Life of Anna Sokolow's
'Prayer for the Dead,'" Hannah Kosstrin
* Chapter 11: "Developing the American Ballet Dancer: The Pedagogical
Lineage of Rochelle Zide-Booth," Jessica Zeller
* SECTION THREE: In the shape of written records
* Section Three Introduction
* Chapter 12: "Recording the Imperial Ballet: Anatomy and Ballet in
Stepanov's Notation," Sheila Marion
* Chapter 13: "Musical Expression in the Bournonville-Løvenskjold La
Sylphide Variation," Rebecca Schwartz-Bishir
* Chapter 14: "Archives of Embodiment: Visual Culture and the Practice
of Score Reading," Victoria Watts
* Chapter 15: "Reading Music, Gesture, and Dualism in Mark Morris' Dido
and Aeneas," Rachael Riggs-Leyva
* Chapter 16: "What's in a Dance? The Complexity of Information in
Writings about Dance," Candace Feck
* CONTRIBUTOR BIOGRAPHIES
* INDEX
* SECTION ONE: In the moment of re-creation and performance
* Section One Introduction
* Chapter 1: "Dancing the Canon in Wartime: Sergeyev, de Valois, and
Inglesby and the Classics of British Ballet," Karen Eliot
* Chapter 2: "Reimagining Le Boeuf sur le Toit," Ann Dils
* Chapter 3: "Reframing the Recent Past: Issues of Reconstruction in
Israeli Contemporary Dance," Deborah Friedes Galili
* Chapter 4: "The Body Censored: Dance, Morality and the Production
Code during the Golden Age of the Film Musical," Betsy Cooper
* Chapter 5: "'Single Ladies' is Gay: Queer Performances and Mediated
Masculinities on YouTube," Harmony Bench
* SECTION TWO: Within the body and mind of the dancer and choreographer
* Section Two Introduction
* Chapter 6: "La Cosmografia del minor mondo: Recovering Dance Theory
to Create Today's Baroque Practice," Catherine Turocy
* Chapter 7: "Touchstones of Tradition and Innovation: Pas de Deux by
Petipa, Balanchine and Forsythe," Melanie Bales
* Chapter 8: "Pavlova and her Daughters: Genealogies of Contingent
Autonomy," Carrie Gaiser Casey
* Chapter 9: "Joined-up Fragments in A Wedding Bouquet: Ashton, Berners
and Stein," Geraldine Morris
* Chapter 10: "Kaddish at the Wall: The Long Life of Anna Sokolow's
'Prayer for the Dead,'" Hannah Kosstrin
* Chapter 11: "Developing the American Ballet Dancer: The Pedagogical
Lineage of Rochelle Zide-Booth," Jessica Zeller
* SECTION THREE: In the shape of written records
* Section Three Introduction
* Chapter 12: "Recording the Imperial Ballet: Anatomy and Ballet in
Stepanov's Notation," Sheila Marion
* Chapter 13: "Musical Expression in the Bournonville-Løvenskjold La
Sylphide Variation," Rebecca Schwartz-Bishir
* Chapter 14: "Archives of Embodiment: Visual Culture and the Practice
of Score Reading," Victoria Watts
* Chapter 15: "Reading Music, Gesture, and Dualism in Mark Morris' Dido
and Aeneas," Rachael Riggs-Leyva
* Chapter 16: "What's in a Dance? The Complexity of Information in
Writings about Dance," Candace Feck
* CONTRIBUTOR BIOGRAPHIES
* INDEX