The Routledge Dance Studies Reader, 2nd Edition by Janet O\'Shea (Editor) Alexandra Carter (Editor)

By Janet O\'Shea (Editor) Alexandra Carter (Editor)

Represents the diversity and variety of writings on dance from the mid-to-late 20th century, offering modern views on ballet, glossy dance, postmodern 'movement functionality' jazz and ethnic dance.

content material: e-book hide; identify; COPYRIGHT; CONTENTS; participants; ACKNOWLEDGEMENTS; 1 ROOTS/ROUTES OF DANCE experiences; half I: MAKING DANCE; 2 CHOREOGRAPHERS: Dancing for de Valois and Ashton; three TORSE: There aren't any mounted issues in house; four convalescing HURSTON, RECONSIDERING THE CHOREOGRAPHER; five remodeling THE BALLET: Stillness and queerness in Swan Lake, four Acts; 6 MAKING house, talking areas; 7 REFLECTIONS ON NEW instructions IN INDIAN DANCE; eight what is IT worthy TO YA? version AND ANACHRONISM: Rennie Harris's PureMovement and Shakespeare; half II: appearing DANCE; nine i'm A DANCER
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Represents the diversity and variety of writings on dance from the mid-to-late 20th century, delivering modern views on ballet, glossy dance, postmodern 'movement functionality' jazz and Read more...

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Frequently, the reconstruction of dances from sources helped to consolidate a tradition, as for instance, in the case of modern dance restagings where dancers and choreographers recreate ‘classic’ items of repertoire that are no longer in circulation. In some cases, performance of movement based on visual and textual sources intersected with the tenets of a living tradition to constitute a ‘reformed’ dance practice, as in the odissi revival, or to create new items of repertoire that are treated as within the bounds of tradition, as occurs in the bharata natyam field.

ROOTS/ROUTES OF DANCE STUDIES 13 Performance studies scholar Priya Srinivasan (2007), in her re-evaluation of Ruth St. 10 Srinivasan, on the one hand, corrects the historical record and counters the self-mythologizing of St. Denis’s account of finding the inspiration for Radha in an Egyptian-themed cigarette ad by pointing out that St. Denis saw Indian dancers at Coney Island two years before she created Radha. On the other hand, Srinivasan departs from conventional history by imagining possible interactions between St.

The other fact in that dance that I like very much, actually, is that if you saw the whole dance – it is fifty-five minutes long when the three parts are danced one after another – you would see that each one of the ten dancers appears at some point as a soloist. You have to watch, really use your eyes, but if you see it a few times, you see that each one comes out separately at one point, some way, back or front, as a soloist. And though the general feeling throughout is that the dance remains a dance of ensembles, it is very individualized as well, each dancer at one point or another has a chance to appear outside the group.

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