Relevant bibliographies by topics / Choreographers

Academic literature on the topic 'Choreographers'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Choreographers"

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МОВА, Людмила. "Improvisation as an important element of future choreographers training." EUROPEAN HUMANITIES STUDIES: State and Society 1, no. I (March 23, 2019): 130–40. http://dx.doi.org/10.38014/ehs-ss.2019.1-i.10.

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Improvisation is considered an important and indispensable element of future choreographer's training, that contributes to future choreographer’s personality development and his/ her creative potential. The author analyzes the structure of work when creating a composition according to the 3q-system (Iztok Kovac, Slovenia). This article shows cases and analysis of personal variants of working with improvisation when training students-choreographers.
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Kant, Marion. "Mark Morris: Musician-Choreographer." Dance Research Journal 50, no. 1 (April 2018): 104–11. http://dx.doi.org/10.1017/s0149767718000104.

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Mark Morris: Musician-Choreographer by Stephanie Jordan is unusual in many ways, and there are hardly any volumes to which it can be compared. That alone sets this study apart from other recent titles on choreographers and their works. Jordan's book was published by Dance Books; yet, it is about music more than anything else—a choreographer's relationship to music, his formation and evolution as a dancer and dancemaker through music, the exploration of music through dance, and eventually Mark Morris's arrival in music as a conductor.
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Pyzhianova, Nataliia, Serhiy Kutsenko, and Petro Voloshyn. "The role of folk dance in formation of the choreographer creative potential." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 252–59. http://dx.doi.org/10.34069/ai/2020.27.03.27.

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The aim of the article is to substantiate the role of folk dance in the process of formation of the creative potential of a student-choreographer. Methods of generalization and comparative analysis were used in the research process. The article identifies three pedagogical conditions for formation the creative potential of students-choreographers by means of folk dance. It is pointed out that promising planning for professional growth plays an important role in formation the choreographers’ creative potential. The expediency of involving students in creative experiments, which include the creation of their own choreographic sketches in the middle of the hall, as well as training exercises near the machine, is substantiated. It is noted that students' sketch work in folk-dance classes is characterized by the study of choreographic sketches on the basis of dance vocabulary. The essence of separate types of students-choreographers’ independent work is revealed. The authors point out that the development of creative thinking, creative imagination and fantasy requires the application of a set of creative tasks based on improvisation. Attention is drawn to the need for the use of interactive and information technologies. Classes with the introduction of interactive and modern information technologies maximally stimulate student-choreographer’s cognitive independence and creative activity.
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Gavish, Maya, and Catherine J. Stevens. "Thinking Strategically about Dance Making: An Analysis of the Structuring Stage and the Strategies Choreographers Use for Varying Dance Works." Dance Research 38, no. 1 (May 2020): 41–64. http://dx.doi.org/10.3366/drs.2020.0290.

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This empirical study investigates how expert choreographers structure their dance pieces and vary their dance designs. Specifically, the methods choreographers apply for selecting, ordering, and refining movement material into a coherent whole were explored. Accordingly, the structuring process of two expert contemporary choreographers was isolated and examined separately from other stages of dance development. We have used observations, interviews and questionnaires to understand the choreographers’ actions and thoughts as they worked on creating three dance pieces. In addition, a model from the field of design (Yilmaz et al 2011) was utilised as the main framework for analysing the quantitative and qualitative data that was extracted. We found that choreographers transform their composition through the application of multiple strategies and particularly, ‘Local’ strategies. Still, each choreographer relies on a particular set of strategies based on the problems they identify in each process and their own personal preferences. Notably, real innovation was enabled through the application of ‘Process Strategies’. These techniques guided the choreographers’ overall approach through the solution space by forcing changes in a particular direction. As a result, new dance forms were discovered.
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Miao, Yu. "An Introduction to the Relationship between Dance Choreographers and Dancers: Taking the dance work "Looking at the Sea Tide" as an Example." Highlights in Art and Design 4, no. 2 (October 1, 2023): 145–48. http://dx.doi.org/10.54097/hiaad.v4i2.13454.

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The process of producing a dance work of art, which can be roughly divided into the creation of dance art and the conveyance of dance art, is a process of continuous fusion and perfection between the choreographer and the dancers. Their roles are both independent of each other and interconnected, and they are constantly switching with each other. They share the same mind with each other, but they share different tasks and responsibilities. For the perfect presentation of dance art, this paper takes the basic conception of choreographer's creation and the analysis of the basic quality of dancers to explore and sort out the relationship between choreographers and dancers from multiple perspectives.
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Candelario, Rosemary. "Choreographing American Dance Archives: Artist-Driven Archival Projects by Eiko & Koma, Bebe Miller Company, and Jennifer Monson." Dance Research Journal 50, no. 1 (April 2018): 80–101. http://dx.doi.org/10.1017/s0149767718000050.

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Choreographers have begun experimenting with artist-driven archives using digital technologies, exhibitions and installations, and live performance as a way to generate new work from their own archival materials and increase access to their body of work for audiences. This article focuses on three recent artist-driven archive projects by notable American choreographers Eiko & Koma, Bebe Miller Company, and Jennifer Monson. Drawing on interviews with the choreographers as well as on analyses of the three projects, I suggest that these projects' most important contribution is the idea that archives are not separate from a choreographer's body of work, but are indeed a part of his or her creative process and artistic production.
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PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.

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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer. In the context of the features of choreographic numbers and their significance for the opera performance, their repertoire is considered. Definition of research. At the beginning of the 21st century, the event of the separation of choreography as a separate scientific specialty called “Choreographic Art” took place in Ukrainian art, which in turn requires a deep and meaningful study of the choreographic art of Ukraine in all its aspects and the development perspective. One of the aspects of this study is the study of the activities of the theatrical choreographer. The purpose of this study is to track the historical processes of the formation of dance traditions in musical theaters using the example of the Lviv Theater of Musical Comedy in the period 1946-1953. Main objective of the study. To personify the choreographers of the theater and to indicate the result of their activities; to trace their careful attitude to the traditions of the past and modern traditions in the context of the activities of the theatrical choreographer; determine the prospect of further scientific research. Methodology. The general scientific methods of objectivity, historicism, systemicity and observation are applicable here. The method of objectivity and historicism provided an opportunity to trace the conditions and the main stages of the creative activity of the choreographers of the State Theater of Musical Comedy in Lviv. The comparative method is suitable for use in the analysis of the creative work of choreographers of the Musical Comedy Theater in Lviv, because such a method provides an opportunity to discover common and different features. The systematic approach allowed us to study this phenomenon comprehensively. The observation method, which was used for a comparative analysis of the activities of choreographers in the post-war years in Lviv with modern ballet activity, revealed the nature and inheritance of the traditions of musical theater. Conclusions. So, the dance became the main axis for the whole drama performance, on which interconnected episodes were strung together in pop and musical theaters. The introduction of choreography into theatrical performances by the choreographers released the energy, musicality, plasticity contained in it, and endowed the performance with dynamism. The dance introduced into the musical theater became the starting point for the use of dance in the cinema, avant-garde ballet, performances, installations and so on.All this was subtly felt and skillfully used in their activities by the choreographers of the Lviv Musical Comedy Theater O. Opanasenko, I. Brzhinsky, B. Tairov, N. Denson. It is pleasant to realize that the results of their activities and their choreographic inventions used in musical performances certainly found their response in the activities of theatrical choreographers of Ukraine in the modern environment. We consider the prospects for further research in the study of biographical facts from life, from the legacy of the work of choreographers of Lviv theaters of the 20-21 centuries. All this will provide an opportunity to determine the basis for the formation of the theater-choreographic school of Lviv in particular and Ukraine as a whole.
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Jonīte, Dita. "Horeogrāfa stratēģijas mūsdienu teātrī: Agates Bankavas piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 259–68. http://dx.doi.org/10.37384/aplkp.2020.25.259.

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During the last two decades, contemporary dance choreographers of Latvia have been more and more intensely involved in staging dramatic theatre performances. This observation has served as a basis for my research question: if and how the stage movement paradigm has changed in the dramatic theatre due to the input of professional contemporary dance choreographers. The increase of the choreographer’s competency and responsibility is related to the paradigmatic change in the theatre in general. Hans-Thies Lehmann, the distinguished German theatre theorist, has developed his post-dramatic theatre theory (Lehmann 2006) that promotes focusing on a live and direct relationship between theatrical performances and their audience. As a result, despite that the director still takes on the main responsibility for the staging, the input of other members of the creative team often equates with the director’s share of creative work. The text of the play in contemporary theatre is often regarded as one of the elements creating the stage work alongside the scenography, music, light design, video projection, etc. In this interdisciplinary kind of art, the choreographer plays an equal role by developing both individual performers and the whole ensemble, thus striving for the most matching and expressive psycho-physical stage presence of the performers. In my contribution, I have focused on Agate Bankava (b. 1991) as one of the most productive new generation contemporary dance choreographers. She regularly works both at theatrical and contemporary dance projects as well as for different interdisciplinary contemporary art performances. To characterize her work, I have described the strategies she uses following the principles Agate Bankava has stated as the basis for her work: high professional standards combined with a wise and intelligent thought pattern, consequently leading towards a comprehensive and sophisticated artwork that simultaneously preserves a link to reality.
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Kenzhetaeva, Aliya, Karlgash Aitkalieva, and Tolkyn Amreyeva. "Integration of Experience and Achievements in the Development of Performing Skills of Kazakh Dance in Higher Education Institutions of the Republic of Kazakhstan." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 53–63. http://dx.doi.org/10.15294/harmonia.v23i1.43859.

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The main purpose of this research is to study the experience and achievements of previous generations of folk dance performers to improve work with future choreographers who study Kazakh folk dance in higher education institutions of the Republic of Kazakhstan. The study’s methodological approach is the search and theoretical analysis of sources aimed at studying both the history of the Kazakh folk dance itself and the development of the performing skills methods of Kazakh dance in future choreographers. This research uses typological, historical, and thematic analysis methods from used literature collected during the writing of the article. The author analyzes the historical stages of the development of the professional training of choreographers-performers and the influence of the experiences and achievements of previous generations on the performing skills of future choreographers in Kazakh higher educational institutions. This study also found that modern teaching is based on the integration of experience and achievements in the art of choreography for the development of performing skills and choreographer-performer skills of Kazakh folk dances in higher educational institutions of the Republic of Kazakhstan. This research work is of practical importance in the study, as well as training of future choreographers who study dance in various areas of original folk art in higher education institutions of the Republic of Kazakhstan.
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TKACHENKO, M. "VISUALIZATION OF THE DIDACTIC PROCESS DURING THE SPECIAL COURSE "PROJECT TECHNOLOGIES IN THE PROFESSIONAL ACTIVITIES OF A CHOREOGRAPHER"." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 31 (August 7, 2023): 240–47. http://dx.doi.org/10.33989/2075-146x.2023.31.283442.

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The article reveals the peculiarities of the visualization of the didactic process during the implementation of the special course "Project technologies in the professional activity of a choreographer", which consist in the use of three types of computer presentations: presentation as an accompaniment to a report; presentation as a video clip; presentation as schematic animation (scribing). It was found that the visualization of the didactic process during the implementation of the special course "Project technologies in the professional activity of a choreographer" has a dual nature, since computer presentations of various types are created both by teachers and placed in the distance course environment, and by students during the performance of tasks. A number of functions of visualization of the didactic process during the special course "Project technologies in the professional activity of a choreographer" in the process of professional training of future choreographers were determined: resource (each future choreographer has the freedom to choose resources for creating presentations: MS PowerPoint, Canva, Prezi, Piktochart, Google presentations, VideoScrib, PowToon, SparcolVideoScribe GoAnimate, Plotagon and many other programs and Internet services); interactive (the creation and demonstration of computer presentations contribute to interactive broadcasting as a form of choreographic-pedagogical activity, which involves the integration of future choreographer specialists in the process of working in project groups to develop a common approach to understanding and solving the problem of developing a choreographic product); informative (the creation and use of computer presentations on artistic and choreographic topics expands the informational field of every future choreographer specialist, which contributes to the acquisition and dissemination of choreographic and pedagogical knowledge among the student community); management (every future specialist choreographer is able to independently manage the process of his own professional training, effective search for information during the tasks of the special course "Project technologies in the professional activity of a choreographer", building knowledge on the use of project technologies by means of their visualization by means of computer presentation graphics, and as well as implementation of didactic, educational and developmental functions of the learning process); technological (every future specialist choreographer knows how to use computer presentation graphics in the choreographer's professional activity and is able to work with various application programs and Internet services for visualizing educational content); communicative (monitoring of completed tasks in the form of student conferences or forums promotes the development of communication skills of future choreographers); health care (on the slides of computer presentations, the future choreographer can emphasize the importance of health care for those who want to master the art of dance.
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Dissertations / Theses on the topic "Choreographers"

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Lamia, Louis M. "Video annotation for choreographers on the NB platform." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/105994.

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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2015.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (page 71).
The NB Platform, originally developed to host discussion on class materials, has been adapted to suit the needs of dance choreographers. A Video Annotator was developed, and features requested by choreographers were added to help suit the platform to their needs. The updated annotator was then subjected to user testing to determine more ways in which software can be developed for the dance community and video annotation software can be improved.
by Louis M. Lamia.
M. Eng.
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Pollard, Nicola Jane. "Folding and withholding : writing with and by choreographers." Thesis, Middlesex University, 2007. http://eprints.mdx.ac.uk/11149/.

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The impetus for the present research comes from questions that arose in projects of collaborative writing by the author with British-based choreographers Rosemary Lee, Kim Brandstrup and Rosemary Butcher. In these projects, the three choreographers differently attempted to word elements of their ongoing choreographic enquiries. The conviction was that such writing might participate in a choreographer's current choreographic research, rather than document research that had already unfolded in the creation of a performance work. The present research thus interrogates the philosophical implications of asking a choreographer for an account of how she or he works. With reference to recent studies in critical ethnography and ethics, the research proposes the development of practices of collaborative writing by a choreographer and a researcher-observer alert to the motivated and implicated positions of each. Included as appendix to the thesis is a book co-written with a choreographer and a CD-ROM of published collaborative writing and open interviews with Butcher, Brandstrup and Lee, performance documentation and journals of studio observation. Published instances of writing by other performance makers are additionally drawn into the enquiry as "research companions". Interrogating relations between writing and choreographers' creation processes, the overall research premise thus concerns the development of writing capable of articulating what matters to choreographers. This research addresses those choreographers who have hesitated when asked about how they work, and asks every dance scholar to hesitate before writing on or about dance-making.
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Senaratne, Tharanga Niroshini. "Homology and Heterology Effects in Drosophila: Cohesin and Condensin as Chromosome Choreographers." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493465.

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The organization of interphase nuclei has numerous consequences for gene expression and genome stability in eukaryotes. Here, we present studies of chromosome organization in Drosophila melanogaster over the course of the cell cycle. We report surprising observations suggesting that cohesin, a protein complex essential in mitosis for holding together the products of DNA replication known as sister chromatids, may not be required to keep sister chromatids in close proximity during interphase. These observations raise questions regarding the nature of cohesin-independent connections between chromatids, why the cell might have such connections in addition to those mediated by cohesin proteins, and how cohesin-independent mechanisms might contribute to other inter-chromosomal associations and nuclear organization throughout the cell cycle. A well-known feature of nuclear organization in Drosophila is the somatic pairing of maternal and paternal homologous chromosomes; we find that certain factors contributing to the pairing of homologs, specifically, condensin II and its regulators, also contribute to the organization of sister chromatids, findings which have interesting implications for the nature of pairing. Finally, we examine another type of inter-chromosomal interaction occurring in Drosophila nuclei, which is the nonhomologous clustering of centromeres, and identify candidate genes that regulate this organization. Overall, this work expands current knowledge on both homologous and heterologous inter-chromosomal interactions, and highlights the relationship between chromosome organization in interphase and in mitosis.
Medical Sciences
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Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.

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De, Boer Kyle Dylan. "Queer transgressions : the choreographing of a male homosexual presence with reference to selected choreographers." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1009442.

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Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.
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Carroll, Jacqui. "Changing lanes : an exploration of the journey from dance through choreography to directing and the spoken word." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35821/1/35821_Digitised%20Thesis.pdf.

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Snyder, Marie Carmen Alonzo. "Contemporary female choreographers of Asian descent : three case studies of an evolving cultural expression in American modern dance /." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1178958x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.
Includes tables. Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Ann H. Dils. Includes bibliographical references (leaves 237-248).
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Smith, Darion. "Boosting My Creative Process in Choreography: Analyzing Related Work, Integrating Methods of Select Master Choreographers, Creating a Dance." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23800.

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During a ten week period at the University of Oregon I created a sociopolitically based dance work, The Big Red Button. I researched theories about creativity. I researched a selection of master choreographers in order to integrate their methods of creation with my own. Finally, I created a dance piece with students from the University of Oregon which was shared with the public in a live performance. In this document I discuss this exploration into my creative process in dance with the intention of understanding more about it, expending upon what I already posses as a choreographer, and attempting to find out if the creative process can be enriched, resulting in new methods, new products, and new perspectives on creating a dance work.
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McCombe, Christine. "Slave to the Dance? The role and function of music in the work of four contemporary Australian choreographers." Thesis, Victorian College of the Arts, University of Melbourne, 1994. https://eprints.qut.edu.au/172/1/slavetothedance.pdf.

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In this thesis I wish to examine the ways in which several Australian choreographers have explored a variety of possible relationships between music and dance in their work. By examining their work and ideas I will show how they have each individually met the hallenge offered by modern dance by finding new relationships between the two art forms. I will focus on four Australian choreographers - Helen Herbertson, Don Asker, Beth Shelton and Sue Healey. Although these choreographers represent a fairly small cross section of the world of contemporary dance in Australia, I feel that their work reveals a diversity of approaches. On the basis of personal interviews with the choreographers about their work and an examination of other materials ( videos, program notes. etc.) I will discuss how they, as choreographers, perceive the 'role' of music and how they incorporate it into their work.
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Borsani, Flávia Brassarola [UNESP]. "O revelar da paixão: as relações estabelecidas entre coreógrafo, bailarinos e obra no processo de criação do Pas de Deux de Bachiana n.1." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/86836.

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Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-09-27Bitstream added on 2014-06-13T20:48:56Z : No. of bitstreams: 1 borsani_fb_me_ia.pdf: 3239776 bytes, checksum: 0169e27d51456120d22ec29ac8130aa9 (MD5)
Esse estudo empírico é fruto de questionamentos relacionados aos processos de criação de dança surgidos ao longo de minha trajetória como bailarina, graduanda em Dança e professora, em que tive a oportunidade de participar e observar processos de criação em diferentes gêneros como coreógrafa e bailarina. Esta pesquisa tem como objetivo refletir sobre um processo de criação em dança para compreender como o coreógrafo concebe sua obra e se relaciona com os bailarinos durante sua criação. Para tanto, foi necessário apresentar uma revisão de literatura acerca dos caminhos da história da dança ocidental organizada a partir dos seguintes autores: Bourcier (2001), Portinari (1989), Garaudy (1980), Garcia (2001), Faro (1986) e Fahlbusch (1990). revelando os papéis do bailarino e coreógrafo e as possibilidades de se criar em dança. Desta forma acompanhei o processo de criação e ensaios da obra Bachiana nº 1 do coreógrafo Rodrigo Pederneiras para a São Paulo Companhia de Dança. Como procedimentos, apliquei entrevistas semiestruturadas junto aos participantes da pesquisa (bailarinos e coreógrafo) para refletir sobre esta criação em particular, tendo em vista a relação entre coreógrafo, bailarinos e obra. Neste processo podemos observar que o coreógrafo necessitou organizar suas ideias e se relacionar com os bailarinos a fim de transmiti-las, compartilhando a criação com os mesmos e com sua assistente, para que traduzissem a sua paixão pela música e sensualidade do ato de amor que tanto almejava. Dar tempo foi necessário para que os bailarinos se familiarizassem com o estilo de Rodrigo Pederneiras, até então, só apreciado pelos mesmos e com a temática proposta por ele.
This empirical study is the result of questions related to the process of creating dance that emerged throughout my career as a dancer, teacher and graduate student in Dance, in which I had the opportunity to participate and observe the creation processes in different genres as a choreographer and dancer. This research aimed to meditate about a process of contemporary dance creation to understand how the choreographer conceives his work, transposes ideas and relates to the dancers during its creation. To do that, it was necessary to present a literature review of organized wetern dance ways of the following authors: Bourcier (2001), Portinari (1989), Garaudy (1980), Garcia (2001), Faro (1986) e Fahlbusch (1990). Revealing then the roles of the dancer and choreographer and the possibilities of dancing creation. So I followed the creation process and tests of choreographer Rodrigo Pederneiras’s nº1 performance Bachiana to São Paulo Dance Academy. As procedure, I applied semi-structured interviews with the research participants (dancers and choreographer) to think about this particular creation, by having in mind the relationship among choreographer, dancers and the performance itself. In this process we could observe that the choreographer had to organize his ideas and relate with the dancers in order to communicate them, by sharing the creation with them and his assistant, for them to translate his passion for music and sensuality of love act which he longed for. It was needed to give a break for the dancers to get used to with Rodrigo Pederneiras’s style, which was so far appreciated only by them and with the proposed thematic by him.
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Books on the topic "Choreographers"

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P, Cohan Robert, and Jordan Stephanie, eds. Choreographers/composers/collaboration. New York: Harwood Academic Publishers, 1992.

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Grody, Svetlana McLee. Conversations with choreographers. Portsmouth, NH: Heinemann, 1996.

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Bremser, Martha. Fifty contemporary choreographers. London: Routledge, 1999.

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Souritz, Elizabeth. Soviet choreographers in the 1920s. London: Dance Books, 1990.

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Sally, Banes, ed. Soviet choreographers in the 1920s. Durham: Duke University Press, 1990.

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Marsico, Katie. Choreographer. Ann Arbor, Mich: Cherry Lake Pub., 2012.

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Osumare, Halifu. Black choreographers moving: A national dialogue. Berkeley, CA: Expansion Arts Services, 1991.

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Jo, Butterworth, Clarke Gill, and Centre for Dance and Theatre Studies at Bretton Hall., eds. Dance makers portfolio: Conversations with choreographers. Wakefield: Centre for Dance and Theatre Studies at Bretton Hall, and the British Association of Choreographers, 1998.

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Marsico, Katie. Choreographer. Ann Arbor, Mich: Cherry Lake Pub., 2012.

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Connie, Kreemer, ed. Further steps: Fifteen choreographers on modern dance. New York: Harper & Row, 1987.

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Book chapters on the topic "Choreographers"

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Foster, Susan Leigh. "Choreographies and Choreographers." In Worlding Dance, 98–118. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236844_6.

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Morgan, Amanda Wansa. "Director/Choreographers." In Conversations with Women in Musical Theatre Leadership, 141–85. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003324652-4.

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Pickering, Kenneth, and David Henson. "Talking with Choreographers." In Musical Theatre, 97–110. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60566-5_9.

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De Weerdt, Mona. "Choreographers at Work!" In Tanzen/Teilen - Sharing/Dancing, 295–310. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462379-017.

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Brannigan, Erin. "Choreographers and Artists." In Choreography, Visual Art and Experimental Composition 1950s–1970s, 170–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-6.

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Butterworth, Jo, and Lorna Sanders. "Fifty Contemporary Choreographers." In Fifty Contemporary Choreographers, 69–328. 3rd ed. Third edition. | Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429355578-2.

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Butterworth, Jo, and Lorna Sanders. "Introduction to the Third Edition." In Fifty Contemporary Choreographers, 1–11. 3rd ed. Third edition. | Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429355578-1.

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Das, Joanna Dee. "How Choreographers and Dancers Work." In The Routledge Companion to Musical Theatre, 329–41. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429260247-30.

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Knyt, Erinn E. "Dancing to the Goldberg Variations." In Johann Sebastian Bach's Goldberg Variations Reimagined, 111–48. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197690659.003.0005.

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Abstract Since William Dollar’s Air and Variations in 1937, there have been at least nineteen additional choreographed versions of Bach’s Goldberg Variations, including an iconic classic by Jerome Robbins (1971). With dance styles ranging from tap dance, to modern dance, to classical ballet, Bach’s work, which was inspired by dance, has become a regularly choreographed work. Although many choreographers have shown reverence toward the Goldberg Variations and have viewed the dance movements as visual representations of Bach’s musical architecture, since the late 1990s, there has been more openness to the deconstruction and reorganization of the piece according to the conception of the choreographer and interpreter, through narrative and conceptual interpolations, through musical deconstruction and fragmentation, and through physical movements that go against the rhythms and themes in Bach’s composition. These trends coincide with the more open approach to the work concept described in the previous chapters.
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De Weerdt, Mona. "Choreographers at Work!" In Tanzen/Teilen - Sharing/Dancing, 295–310. transcript Verlag, 2022. http://dx.doi.org/10.1515/9783839462379-017.

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Conference papers on the topic "Choreographers"

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Ciolfi Felice, Marianela, Sarah Fdili Alaoui, and Wendy E. Mackay. "How Do Choreographers Craft Dance?" In MOCO'16: 3rd International Symposium on Movement and Computing. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2948910.2948941.

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Calvert, Tom W., Armin Bruderlin, Sang Mah, Thecla Schiphorst, and Chris Welman. "The evolution of an interface for choreographers." In the SIGCHI conference. New York, New York, USA: ACM Press, 1993. http://dx.doi.org/10.1145/169059.169113.

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Крулица, Анна. "Conversation with the past in contemporary choreography." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.18.

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My article examines the problem of the archival turn in scientific works and discourse that affects artistic practice, including the choreographic one. In recent years, we can find several attempts to reconstruct the performances of famous choreographers who worked in the 1920s and 1930s. Modern choreographers have recalled forgotten performances of the former era, but recalling these choreographic works, they want to give them a modern meaning. This attempt is similar to rewriting history. In this context of rewriting history, I want to emphasize the importance of bodily memory and bring the perspective of viewing the body as an archive. In my article, I pose questions about how to find traces of former works? How modern choreographers work with memory and with the body. The concept of the body as an archive and the experience of past generations associated with choreographic practice is at the center of my work. The body can hide the secret of trauma, the unconscious determination of behavior in bodily, physical play. The second problem raised in the article is about the relationship between the present and the past. Why do we need a turn in the past now? I consider Yanka Rudskaya’s biography and her approach to dance as an example. This article shows the role of feminine artistic practices in the space of choreography. Recent reflections concern the problem of transferring modern dance to modernity and its discovery.
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Muraro, Zjana, and Colin Higgs. "Portable Interactive Explorations of Motion Data for Choreographers." In MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404255.

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Мацаренко, Татьяна Николаевна. "DIFFERENT PSYCHOLOGICAL FEATURES BALLET ARTISTS FROM TEACHER-CHOREOGRAPHERS." In Перспективные исследования в современном мире: сборник статей международной научной конференции (Санкт-Петербург, Ноябрь 2022). Crossref, 2023. http://dx.doi.org/10.58351/221129.2022.89.23.005.

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В статье представлены результаты исследования психологических особенностей артистов балета и педагогов-хореографов по методикам “Цель-Средство-Результат” А.А. Карманова, «Экспресс-диагностика уровня социальной фрустрированности» Л.И. Вассермана, возможность самореализации артистов балета после сценической карьеры. Рассмотрены требования педагогической деятельности, создание авторского проекта - стартапа.
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Gillies, Marco, Max Worgan, Hestia Peppe, Will Robinson, and Nina Kov. "Exploring Choreographers’ Conceptions of Motion Capture for Full Body Interaction." In Proceedings of HCI 2011 The 25th BCS Conference on Human Computer Interaction. BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/hci2011.48.

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ASTUTI, Fuji. "The Contribution of Choreographers toward the Development of Minangkabau Dance." In Sixth International Conference on Languages and Arts (ICLA 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icla-17.2018.44.

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Kasimanova, L. A., and S. V. Krivykh. "Cluster Approach to Modeling the Content of Professional Training of Choreographers." In “New Silk Road: Business Cooperation and Prospective of Economic Development” (NSRBCPED 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/aebmr.k.200324.005.

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"How to be novel and unique in the creation of choreographers." In 2017 3rd International Conference on Economy, Management and Education Technology. Francis Academic Press, 2017. http://dx.doi.org/10.25236/icemet.2017.028.

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Soga, Asako, and Takumu Matsushita. "Movement Creation by Choreographers with a Partially Self-controllable Human Body in VR." In VRST 2023: 29th ACM Symposium on Virtual Reality Software and Technology. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3611659.3617198.

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Reports on the topic "Choreographers"

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Fritz, David J., Christopher B. Harrison, C. W. Perr, and Steven A. Hurd. Choreographer Pre-Testing Code Analysis and Operational Testing. Office of Scientific and Technical Information (OSTI), July 2014. http://dx.doi.org/10.2172/1171431.

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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