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The updated and revised edition of A Choreographer's Handbook invites readers to investigate how and why to make a dance performance. Burrows' open and honest prose gives the reader access to a range of principles, exercises, meditations and ideas on choreography that allow artists and dance-makers to find their own aesthetic process.
The updated and revised edition of A Choreographer's Handbook invites readers to investigate how and why to make a dance performance. Burrows' open and honest prose gives the reader access to a range of principles, exercises, meditations and ideas on choreography that allow artists and dance-makers to find their own aesthetic process.
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Jonathan Burrows is a choreographer, teacher and writer, whose work has been invited widely internationally. He is best known for an ongoing body of work with the composer Matteo Fargion, with whom he has collaborated for over 30 years. He is the author of 'A Choreographer's Handbook' (Routledge 2010) and 'Writing Dance' (2022) and is currently Associate Professor at the Centre for Dance Research, Coventry University, UK.
Inhaltsangabe
Preface Dancing / Principles Material Habits Repetition Repetition Repetition Improvisation / Cut and paste / Choreography Form Exploration / Risk Subject / Inspiration / Stealing / Familiar movement / Referencing other sources/ Choreography / Self-expression Contract / Performance space / Language / Choreography Breaking The Rules Research / How and what? / Dramaturgy / Theory / Curiosity Interview / Unfinished business / Questions / Principles Financial limitations / Studios / Funding Applications Preparation / Rehearsal schedule / Heaviness Collaboration / Audience Originality / Paradox Technique / Parrot on your shoulder / Authenticity / Daily practice / Dancing / Style / Fiddling Virtuosity Hoarding / Beginnings Endings Keeping it going / Pacing Dub reggae / Rate of change / Simple material / Desperation Stillness and silence / Fear of being boring Minimal and maximal Does it work? / Showings / Mentoring Other bodies / States Distracting the self / Paradox / Choreography / Performance / Electric guitars Predictable and unpredictable / Expectation Narrative / Ballet / Continuity Continuity / Sectional pieces / Material / Make six things / Choreography / Flow / Relation Relation / Solos, duos, trios, quartets / Ideas Relation / Time / Rhythm Time Abstract dance Counterpoint / Formal elements / Difference Scores / Studios / Improvisation Chance / Empty hands / Gamut of movements / Limitations / Laborious work Place or space? Audience / Facing the front / Confrontation / Humour / Failure Audience Performance / Principles The marketplace / Earning a living / Administrating the work / Commissions Music / Collaboration / Silence Text Lighting / Technicians / Collaboration / Costumes / Shoes or no shoes? / Set design / Nudity Titles Filming / History / Collaboration / Mirrors / Human-scale Hierarchies / Who owns what? / Dancer or choreographer? / In it or out of it? How can I simplify all of this? Forget all this Bibliography Thanks Biography of the author Index
Preface, 2nd edition Dancing Principles Material Habits Repetition Repetition Repetition Improvisation Cut and paste Choreography Form Exploration Risk Breaking the rules Subject Inspiration Stealing Familiar movement Choreography Referencing other sources Research How and what? Dramaturgy Theory Curiosity Contract Performance space Self-expression Abstract dance Interview Unfinished business Questions Principles Financial limitations Studios Funding applications Collaboration Audience Preparation Meetings Rehearsal schedule Heaviness Originality Ecology Paradox Technique Parrot on your shoulder Authenticity Dancing Style Fiddling Virtuosity Specificity Daily practice Hoarding Beginnings Endings Keeping it going Pacing Change Dub reggae Simple material Desperation Predictable and unpredictable Expectation Stillness and silence Minimal and maximal Solos, duos, trios, quartets Many bodies States Parallel Voices Performance Principles Distracting the self Paradox Choreography Performance Electric guitars Does it work? Showings Mentoring Narrative Ballet Continuity Continuity Material Make six things Choreography Flow Relation Relation Time Rhythm Time Counterpoint Unison Scores Studios Translation Sequencing Improvisation Chance Empty hands Gamut of movements Limitations Laborious work Philosophy Audience Facing the front Facing each other Confrontation Humour Failure Place or space? Audience Hierarchies Dancer or choreographer? In it or out of it? Who owns what? The marketplace Earning a living Administrating the work Commercial work Commissions Academia Music Collaboration Silence Text Lighting Technicians Collaboration Costumes Set design Nudity Filming History Collaboration Mirrors Human-scale Titles How can I simplify all of this? Forget all this
Preface Dancing / Principles Material Habits Repetition Repetition Repetition Improvisation / Cut and paste / Choreography Form Exploration / Risk Subject / Inspiration / Stealing / Familiar movement / Referencing other sources/ Choreography / Self-expression Contract / Performance space / Language / Choreography Breaking The Rules Research / How and what? / Dramaturgy / Theory / Curiosity Interview / Unfinished business / Questions / Principles Financial limitations / Studios / Funding Applications Preparation / Rehearsal schedule / Heaviness Collaboration / Audience Originality / Paradox Technique / Parrot on your shoulder / Authenticity / Daily practice / Dancing / Style / Fiddling Virtuosity Hoarding / Beginnings Endings Keeping it going / Pacing Dub reggae / Rate of change / Simple material / Desperation Stillness and silence / Fear of being boring Minimal and maximal Does it work? / Showings / Mentoring Other bodies / States Distracting the self / Paradox / Choreography / Performance / Electric guitars Predictable and unpredictable / Expectation Narrative / Ballet / Continuity Continuity / Sectional pieces / Material / Make six things / Choreography / Flow / Relation Relation / Solos, duos, trios, quartets / Ideas Relation / Time / Rhythm Time Abstract dance Counterpoint / Formal elements / Difference Scores / Studios / Improvisation Chance / Empty hands / Gamut of movements / Limitations / Laborious work Place or space? Audience / Facing the front / Confrontation / Humour / Failure Audience Performance / Principles The marketplace / Earning a living / Administrating the work / Commissions Music / Collaboration / Silence Text Lighting / Technicians / Collaboration / Costumes / Shoes or no shoes? / Set design / Nudity Titles Filming / History / Collaboration / Mirrors / Human-scale Hierarchies / Who owns what? / Dancer or choreographer? / In it or out of it? How can I simplify all of this? Forget all this Bibliography Thanks Biography of the author Index
Preface, 2nd edition Dancing Principles Material Habits Repetition Repetition Repetition Improvisation Cut and paste Choreography Form Exploration Risk Breaking the rules Subject Inspiration Stealing Familiar movement Choreography Referencing other sources Research How and what? Dramaturgy Theory Curiosity Contract Performance space Self-expression Abstract dance Interview Unfinished business Questions Principles Financial limitations Studios Funding applications Collaboration Audience Preparation Meetings Rehearsal schedule Heaviness Originality Ecology Paradox Technique Parrot on your shoulder Authenticity Dancing Style Fiddling Virtuosity Specificity Daily practice Hoarding Beginnings Endings Keeping it going Pacing Change Dub reggae Simple material Desperation Predictable and unpredictable Expectation Stillness and silence Minimal and maximal Solos, duos, trios, quartets Many bodies States Parallel Voices Performance Principles Distracting the self Paradox Choreography Performance Electric guitars Does it work? Showings Mentoring Narrative Ballet Continuity Continuity Material Make six things Choreography Flow Relation Relation Time Rhythm Time Counterpoint Unison Scores Studios Translation Sequencing Improvisation Chance Empty hands Gamut of movements Limitations Laborious work Philosophy Audience Facing the front Facing each other Confrontation Humour Failure Place or space? Audience Hierarchies Dancer or choreographer? In it or out of it? Who owns what? The marketplace Earning a living Administrating the work Commercial work Commissions Academia Music Collaboration Silence Text Lighting Technicians Collaboration Costumes Set design Nudity Filming History Collaboration Mirrors Human-scale Titles How can I simplify all of this? Forget all this
Rezensionen
'it proposes clear, but simultaneously cryptic advices applicable to a broad church of performance and dance making-dilemas. Well worth ordering' - Tim Etchells, Artistic Director of Forced Entertainment
'it is a workshop in the form of a book, which aims to help choreographers and dancers in articulating and fine-tuning their own ways of working' -Jeroen Peeters, CORPUS
'it proposes clear, but simultaneously cryptic advices applicable to a broad church of performance and dance making-dilemas. Well worth ordering' - Tim Etchells, Artistic Director of Forced Entertainment
'it is a workshop in the form of a book, which aims to help choreographers and dancers in articulating and fine-tuning their own ways of working' - Jeroen Peeters, CORPUS
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