Auswahl der wissenschaftlichen Literatur zum Thema „Alwin Nikolais“
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Zeitschriftenartikel zum Thema "Alwin Nikolais"
Thompson, Dale. „Alwin Nikolais and Murray Louis, The Nikolais/Louis Dance Technique“. Dance Research 24, Nr. 2 (Oktober 2006): 168–69. http://dx.doi.org/10.3366/dar.2007.0013.
Der volle Inhalt der QuelleGilmore, Bob. „“A Soul Tormented”: Alwin Nikolais and Harry Partch's The Bewitched“. Musical Quarterly 79, Nr. 1 (1995): 80–107. http://dx.doi.org/10.1093/mq/79.1.80.
Der volle Inhalt der QuelleAhlgren, Angela K. „Asia and Alwin Nikolais: Interdisciplinarity, Orientalist Tendencies, and Midcentury American Dance“. Theatre History Studies 40, Nr. 1 (2021): 73–100. http://dx.doi.org/10.1353/ths.2021.0004.
Der volle Inhalt der QuelleDebenham, Pat. „Book Review: The Returns of Alwin Nikolais: Bodies, Boundaries and the Dance Canon“. Journal of Dance Education 9, Nr. 3 (Juli 2009): 100. http://dx.doi.org/10.1080/15290824.2009.10387393.
Der volle Inhalt der QuelleMartinez, Ariane, José Ronaldo Faleiro und Priscila da Costa. „Iluminar o (a) Intérprete em Cena“. A Luz em Cena: Revista de Pedagogias e Poéticas Cenográficas 1, Nr. 01 (23.04.2022): 1–19. http://dx.doi.org/10.5965/27644669010120210501.
Der volle Inhalt der QuelleElswit, Kate. „The Returns of Alwin Nikolais: Bodies, Boundaries and the Dance Canon edited by Claudia Gitelman and Randy Martin. 2007. Hanover, CT: Wesleyan University Press. 312 pp., 16 color plates, 33 b/w illus., index. $75.00 cloth, $27.95 paper.“ Dance Research Journal 42, Nr. 2 (2010): 111–13. http://dx.doi.org/10.1017/s0149767700001054.
Der volle Inhalt der QuelleHunt, John Dixon. „John Ruskin, Claude Lorrain, Robert Smithson, Christopher Tunnard, Nikolaus Pevsner, and Yve-Alain Bois walked into a bar . .“ Hopkins Review 5, Nr. 1 (2012): 81–94. http://dx.doi.org/10.1353/thr.2012.0014.
Der volle Inhalt der QuelleAlmeida, Bruno Vasconcelos de. „Medicamentos, tecnociências e a figura do monstro como horizonte ético“. Pensando - Revista de Filosofia 10, Nr. 19 (26.10.2019): 39. http://dx.doi.org/10.26694/pensando.v10i19.8372.
Der volle Inhalt der QuelleFrolova-Walker, Marina. „Nikolai Rimsky-Korsakov - The Golden Cockerel Vladimir Feliauer bass-bar, Aida Garifullina sop Mariinsky Orchestra and Chorus, Valery Gergiev cond Anna Matison stage dir Mariinsky 596, 2017 (2 DVDs: 119 minutes) - Золотой петушок/Le coq d'or/The Golden Cockerel Pavlo Hunka bass-bar, Alexey Dolgov ten, Konstantin Shushakov bar, Alexander Vassiliev bass, Agnes Zwierko mezzo La Monnaie Symphony Orchestra and Chorus, Alain Altinoglu cond Laurent Pelly stage dir BelAir Classiques 147, 2018 (1 DVD: 118 minutes)“. Nineteenth-Century Music Review 17, Nr. 2 (24.03.2020): 321–24. http://dx.doi.org/10.1017/s1479409819000491.
Der volle Inhalt der QuelleKrueger, Anton, und Albert Wunder. „‘Don't educate them out of educating themselves’: A conversation with Al Wunder“. Improvisation Special Issue 4, Nr. 1 (14.12.2021). http://dx.doi.org/10.5920/pam.1005.
Der volle Inhalt der QuelleDissertationen zum Thema "Alwin Nikolais"
Bednářová, Kateřina. „Alwin Nikolais a jeho technika“. Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78054.
Der volle Inhalt der QuelleLawton, Marc. „A la recherche du geste unique : pratique et théorie chez Alwin Nikolaïs“. Phd thesis, Université Charles de Gaulle - Lille III, 2012. http://tel.archives-ouvertes.fr/tel-00881517.
Der volle Inhalt der QuelleCelbová, Kristýna. „Alwin Nikolais - choreograf a scénický vizionář 2. pol. 20. století“. Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78057.
Der volle Inhalt der QuelleForster, Lou. „Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée“. Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.
Der volle Inhalt der QuelleLucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation
Perry, Beth. „Outside the mainstream a comparison of Alwin Nikolais's works to modern and postmodern dance of the 1960s /“. 2008. http://etd.lib.fsu.edu/theses/available/etd-04022008-084704.
Der volle Inhalt der QuelleAdvisor: John Perpener, Florida State University, College of Visual Arts, Theatre, and Dance, Dept. of Dance. Title and description from dissertation home page (viewed June 13, 2008). Document formatted into pages; contains viii, 99 pages. Includes bibliographical references.
Bücher zum Thema "Alwin Nikolais"
Pedroni, Francesca. Alwin Nikolais. Palermo: L'Epos, 2000.
Den vollen Inhalt der Quelle findenClaudia, Gitelman, und Martin Randy 1957-, Hrsg. The returns of Alwin Nikolais: Bodies, boundaries and the dance canon. Middletown, Conn: Wesleyan University Press, 2007.
Den vollen Inhalt der Quelle findenDance and the Lived Body: A Descriptive Aesthetics. University of Pittsburgh Press, 1996.
Den vollen Inhalt der Quelle findenDance and the lived body: A descriptive aesthetics. Pittsburgh, Pa: University of Pittsburgh Press, 1987.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Alwin Nikolais"
Glinsky, Albert. „A Eunuch in a Harem“. In Switched On, 80—C8.P38. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197642078.003.0008.
Der volle Inhalt der QuelleMa, Nan. „Introduction“. In When Words Are Inadequate, 1—C0P50. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197575307.003.0001.
Der volle Inhalt der QuelleMa, Nan. „Epilogue“. In When Words Are Inadequate, 193–212. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197575307.003.0006.
Der volle Inhalt der QuelleRandall, Tresa. „Holm, Hanya (1893–1992)“. In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1920-1.
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