Auswahl der wissenschaftlichen Literatur zum Thema „Jerome Robbins“
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Zeitschriftenartikel zum Thema "Jerome Robbins"
Warren Sonbert. „“Jerome Robbins”“. Framework: The Journal of Cinema and Media 56, Nr. 1 (2015): 31. http://dx.doi.org/10.13110/framework.56.1.0031.
Der volle Inhalt der QuelleSolomon, Alisa. „Balancing Act: Fiddler's Bottle Dance and the Transformation of “Tradition”“. TDR/The Drama Review 55, Nr. 3 (September 2011): 21–30. http://dx.doi.org/10.1162/dram_a_00091.
Der volle Inhalt der QuelleKnyt, Erinn E. „"Just to Be , and Dance ": Jerome Robbins, J. S. Bach, and Late Style“. BACH: Journal of the Riemenschneider Bach Institute 54, Nr. 2 (2023): 273–303. http://dx.doi.org/10.1353/bach.2023.a907243.
Der volle Inhalt der QuelleRogoff, Jay. „Still Youthful at 100 by Jerome Robbins“. Hopkins Review 12, Nr. 1 (2019): 135–42. http://dx.doi.org/10.1353/thr.2019.0018.
Der volle Inhalt der QuelleSaumaa, Hiie. „Somaticist in the dance archives: Exploring Jerome Robbins’ diaries through somatics“. Journal of Dance & Somatic Practices 12, Nr. 2 (01.12.2020): 229–38. http://dx.doi.org/10.1386/jdsp_00025_1.
Der volle Inhalt der QuelleZHU, YING, und DANIEL BELGRAD. „“This Cockeyed City Is THEIRS”: Youth at Play in the Dances of West Side Story“. Journal of American Studies 51, Nr. 1 (18.05.2016): 67–91. http://dx.doi.org/10.1017/s002187581600061x.
Der volle Inhalt der QuelleRorem, Ned. „“Ballet for Jerry”: Three letters from Jerome Robbins to Ned Rorem“. Dance Chronicle 23, Nr. 3 (Januar 2000): 263–73. http://dx.doi.org/10.1080/01472520008569391.
Der volle Inhalt der QuelleWest, Martha Ullman. „A Review of: “Jerome Robbins: His Life, His Theater, His Dance”“. Dance Chronicle 28, Nr. 2 (Mai 2005): 265–69. http://dx.doi.org/10.1081/dnc-200061521.
Der volle Inhalt der QuelleBaber, Katherine. „“American First Aid”: Jerome Robbins and Leonard Bernstein at the Salzburg Festival, 1959“. Journal of Austrian-American History 6, Nr. 1 (18.05.2022): 74–88. http://dx.doi.org/10.5325/jaustamerhist.6.1.0074.
Der volle Inhalt der Quelle정옥희. „Critical Reconsiderations of Dance Media Archives: The Case of the New York Public Library’s Jerome Robbins Dance Division“. Korean Journal of Dance Studies 34, Nr. 34 (Dezember 2011): 215–57. http://dx.doi.org/10.16877/kjds.34.34.201112.215.
Der volle Inhalt der QuelleDissertationen zum Thema "Jerome Robbins"
Forster, 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
Bücher zum Thema "Jerome Robbins"
Vaill, Amanda, und Judy Kinberg. Jerome Robbins: Something to dance about. West Long Branch, N.J: Kultur, 2009.
Den vollen Inhalt der Quelle findenJowitt, Deborah. Jerome Robbins: His life, his theater, his dance. New York: Simon & Schuster, 2004.
Den vollen Inhalt der Quelle findenBocher, Barbara. The cage: Dancing for Jerome Robbins and George Balanchine, 1949-1954. [North Charleston, S.C: CreateSpace], 2012.
Den vollen Inhalt der Quelle findenLaurents, Arthur. West side story: A musical : based on a conception of Jerome Robbins. London: Heinemann Educational, 1985.
Den vollen Inhalt der Quelle findenSchlundt, Christena L. Dance in the musical theatre: Jerome Robbins and his peers, 1934-1965 : a guide. New York: Garland Pub., 1989.
Den vollen Inhalt der Quelle findenFinn, Felicity. Jeremy and the aunties. Toronto: Second Story Press, 1992.
Den vollen Inhalt der Quelle findenLesser, Wendy. Jerome Robbins. Yale University Press, 2018. http://dx.doi.org/10.12987/9780300240429.
Der volle Inhalt der QuelleJerome Robbins. Rosen Publishing Group, 2009.
Den vollen Inhalt der Quelle findenJerome Robbins. Rosen Publishing Group, 2009.
Den vollen Inhalt der Quelle findenVaill, Amanda. Jerome Robbins. Little, Brown Book Group Limited, 2006.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Jerome Robbins"
„Jerome Robbins“. In The Show Makers, 201–18. Routledge, 2002. http://dx.doi.org/10.4324/9780203906651-12.
Der volle Inhalt der Quelle„Front Matter“. In Jerome Robbins, i—vi. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.1.
Der volle Inhalt der Quelle„Fiddler on the Roof“. In Jerome Robbins, 104–18. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.10.
Der volle Inhalt der Quelle„Dances at a Gathering“. In Jerome Robbins, 119–34. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.11.
Der volle Inhalt der Quelle„The Goldberg Variations“. In Jerome Robbins, 135–54. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.12.
Der volle Inhalt der Quelle„In Memory Of . . .“ In Jerome Robbins, 155–69. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.13.
Der volle Inhalt der Quelle„Coda“. In Jerome Robbins, 170–80. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.14.
Der volle Inhalt der Quelle„NOTES“. In Jerome Robbins, 181–90. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.15.
Der volle Inhalt der Quelle„ACKNOWLEDGMENTS“. In Jerome Robbins, 191–92. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.16.
Der volle Inhalt der Quelle„INDEX“. In Jerome Robbins, 193–201. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv6gqxhn.17.
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