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Books on the topic 'Performance dansée'

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Author: Grafiati
Published: 22 June 2024

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1

Renard, Johanna. Un ennui radical: Yvonne Rainer, danse et cinéma. Cherbourg-en-Cotentin: De l'incidence éditeur, 2022.

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2

Pencenat, Corine. Au milieu du chemin--: Danse, scène, performance. Strasbourg]: Université de Strasbourg, 2010.

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3

Barbéris, Isabelle. L'archive dans les arts vivants: Performance, danse, théâtre. Rennes: Presses universitaires de Rennes, 2015.

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4

Steinman, Louise. The knowing body: Elements of contemporary performance & dance. Boston: Shambhala, 1986.

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5

Steinman, Louise. The knowing body: The artist as storyteller in contemporary performance. Berkeley, Calif: North Atlantic Books, 1995.

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6

Vogel, Deborah. Tune up your turnout: A dancer's guide. Oberlin, Ohio: White Owl Pub., 2005.

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7

Moss, Alexandra. Lara's perfect performance. London: Scholastic, 2005.

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8

Zenicola, Denise Mancebo. Máscaras decoloniais: Dança e performance = Decolonial masks : dance and performance. Rio de Janeiro: Mauad X, 2020.

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9

Christoffersen, Henrik. Den danske kommunekonstruktion: Kommunedannelsen med og efter strukturreformen : professionalisering, organisering og performance. Odense: Forskningsprogrammet om Strukturreformen og Syddansk Universitetsforlag, 2012.

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10

Soar, Kathryn, and Christina Aamodt. Archaeological approaches to dance performance. Oxford, England: Archaeopress, 2014.

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11

Sina, Adrien. Feminine futures: Valentine de Saint-Point : performance, danse, guerre, politique et érotisme. Edited by Performa 09 (2009 : New York, N.Y.). [Dijon]: Presses du réel, 2011.

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12

1932-, Spencer Paul, ed. Society and the dance: The social anthropology of process and performance. Cambridge [Cambridgeshire]: Cambridge University Press, 1985.

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13

1932-, Spencer Paul, ed. Society and the dance: The social anthropology of process and performance. Cambridge: Cambridge University Press, 1986.

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14

Koner, Pauline. Elements of performance: A guide for performers in dance, theatre, and opera. Chur, Switzerland: Harwood Academic Publishers, 1993.

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15

Nāgabhūṣaṇaśarma, Modali. Kuchipudi: Gurus, performers and performance traditions. Hyderabad: Ranga Sampada, 2016.

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16

Lavigne, Emma, and Christine Macel. Danser sa vie: Art et danse de 1900 à nos jours. Paris: Éditions du Centre Pompidou, 2011.

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17

Kolankiewicz, Leszek. Svit kulʹturnykh diĭstv. Lʹviv: T︠S︡entr humanitarnykh doslidz︠h︡enʹ, 2009.

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18

McCarren, Felicia M. Dance pathologies: Performance, poetics, medicine. Stanford, Calif: Stanford University Press, 1998.

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19

Barrios, Silvia. Argentina Indígena: Visiones del país del silencio. Salta, Argentina: Cielo Arriba, 2012.

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20

Doris, Humphrey. New dance: Writings on modern dance. Highstown, NJ: Princeton Book Co., 2008.

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21

Dimchev, Ivo. Stage works 2002-2016. Sofia, Bulgaria: Humarts Foundation, 2016.

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22

Powers, William K. War dance: Plains Indian musical performance. Tucson: University of Arizona Press, 1990.

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23

Franklin, Eric N. Dance imagery for technique and performance. Champaign, IL: Human Kinetics, 1996.

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24

Tufnell, Miranda. Body space image: Notes towards improvisation and performance. London: Virago, 1990.

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25

Tufnell, Miranda. Body, space, image: Notes towards improvisation and performance. London: Dance Books, 1993.

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26

Ghosal, Anjana. Work of/on art. New Delhi: Lakshi Publishers & Distributors, 2013.

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27

Villanúa, Lolita. Andanza: Imágenes y trayectoria. San Juan, P.R: Andanza, 2007.

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28

Masson, Colette. Maurice Béjart. Paris: Editions Plume, 1991.

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29

Syson, Russell. Improving purchase performance. London: Pitman, 1992.

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30

Tomassini, Stefano. Tempo fermo: Danza e performance alla prova dell'impossibile. Milano: Scalpendi editore, 2018.

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31

Nagrin, Daniel. The six questions: Acting technique for dance performance. Pittsburgh, Pa: University of Pittsburgh Press, 1997.

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32

Itkin, Bella. Acting: Preparation, practice, performance. New York: HarperCollins College Publishers, 1994.

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33

Approche philosophique du geste dansé: De l'improvisation à la performance. Villeneuve d'Ascq, France: Presses universitaires du Septentrion, 2006.

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34

Pilcher, Katy. Erotic Performance and Spectatorship. Taylor & Francis Group, 2019.

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35

Baird, Bruce, and Rosemary Candelario. Routledge Companion to Butoh Performance. Routledge, 2018.

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36

Baird, Bruce, and Rosemary Candelario. Routledge Companion to Butoh Performance. Taylor & Francis Group, 2018.

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37

Baird, Bruce, and Rosemary Candelario. Routledge Companion to Butoh Performance. Taylor & Francis Group, 2018.

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38

Baird, Bruce, and Rosemary Candelario. Routledge Companion to Butoh Performance. Taylor & Francis Group, 2018.

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39

Baird, Bruce, and Rosemary Candelario. Routledge Companion to Butoh Performance. Taylor & Francis Group, 2018.

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40

Baird, Bruce, and Rosemary Candelario. Routledge Companion to Butoh Performance. Taylor & Francis Group, 2020.

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41

Redbooks, IBM. Parallel Sysplex Performance Healthcheck Case Study: Dmdata/Danske Data. Ibm, 1999.

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42

Collectif. La Part De L'Oeil N° 24 - Ce Qui Fait Danse: De La Plasticite A La Performance. PART DE L OEIL, 2009.

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43

Ashley, Linda. Canllaw i Hanfodion: Byd y ddawns. 3rd ed. CAA, 2011.

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44

Pilcher, Katy. Erotic Performance and Spectatorship: New Frontiers in Erotic Dance. Taylor & Francis Group, 2016.

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45

Bleeker, Maaike. Lecture Performance as Contemporary Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0015.

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Abstract:
The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemination that had reached its first high point in the dance conventions during the Weimar years. By analyzing particular examples of lecture performances, it demonstrates the self-reflexive structures that emerge between scientific paper and corporeal act. It explains in which ways lecture performances redefine what it means to be a dancer, seeing it as an attitude rather than a profession.
46

Fogarty, Mary. Gene Kelly. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.008.

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This chapter explores the contemporary significance of Gene Kelly for street dance practitioners and cultural critics. Responses to a Volkswagen commercial remake of Kelly’s “Singin’ in the Rain” solo sequence raise questions about how creativity and originality are assessed in popular dance performances. By comparing the responses of film critics and hip-hop dance practitioners to both Gene Kelly’s performance in Singin’ in the Rain (Donen and Kelly 1952) and the commercial remake, a key theme emerges. Evaluations of creativity reveal how judgments about originality are as much a part of street dance practices as classic choreographic works. This chapter suggests that “remixes” of past popular dance performances reveal the pleasure created in aesthetic comparison. In fact, value judgments rooted in comparisons are a central component of popular dance assessment and appreciation.
47

Murray, Sean. That “Weird and Wonderful Posture”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.41.

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Sometime in the late 1820s to early 1830s, a little-known white theatre performer named Thomas Dartmouth Rice modeled a blackface song and dance on a “crippled Negro”; his performances of “Jump Jim Crow” became extraordinarily popular in pre–Civil War America. The extensive literature on these performances has generally been silent on two key characteristics of the phenomenon: the importance of “audience” performance to the act’s popularity and reception and the fact that the pleasure of jumping “Jim Crow” was rooted in the spectacular performance of disability by presumably able-bodied people: usually white and usually male. This essay demonstrates that blackface performance almost always involved performances of disability (physical and cognitive), which constructed both privileged white citizens and stigmatized defective Negroes, unworthy of citizenship. As such, they participated in contemporary discourses about citizenship in which race and disability play central and deeply entwined roles.
48

Kraus, Rachel. Gendered Bodies and Leisure: The Practice and Performance of American Belly Dance. Taylor & Francis Group, 2016.

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49

Kraus, Rachel. Gendered Bodies and Leisure: The Practice and Performance of American Belly Dance. Taylor & Francis Group, 2016.

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50

Kraus, Rachel. Gendered Bodies and Leisure: The Practice and Performance of American Belly Dance. Taylor & Francis Group, 2016.

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