Journal articles on the topic 'The Performing Arts (incl. Theatre and Dance)'
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Thompson, Jayne. "Moving Memory Dance Theatre Company." Performance Research 24, no. 3 (April 3, 2019): 115–21. http://dx.doi.org/10.1080/13528165.2019.1583983.
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Nearman, Mark J., Monica Bethe, and Karen Brazell. "Dance in the Nō Theatre." Asian Theatre Journal 4, no. 2 (1987): 237. http://dx.doi.org/10.2307/1124197.
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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.
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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spectacle, and the embodiment of spectacle through elaborate makeup and costume, with a gender fluidity that freed us all.
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Einasto, Heili, and Evelin Lagle. "Path Dependency in Theatre Funding." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 55–71. http://dx.doi.org/10.7146/nts.v30i1.106923.
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Estonian contemporary dance emerged in the early 1990s outside established theatre institutions. Since then, it has existed in a project-based format, which means that though dance artists can receive funding for preparing projects, there is no financial support for facilities needed for everyday practice outside or between the projects. The type of venues available for practicing contemporary dance has an impact on choreographic practice presented for the public, even if that dimension often remains invisible.Funding policy, like other policies, is greatly affected by the historical legacy of a particular policy (that is, path dependent), and the same can be claimed about choreographic practice. Therefore, in order to understand why a certain policy or practice prevails and is resistant to change even if it becomes problematic, it is necessary to look at the beginning of the path. In the present article, the history of theatre and dance funding in Estonia is taken as an example to discuss how that history affects the present in terms of choices by dance practitioners. Though Estonia is taken as an example, the situation is far from unique and therefore can serve as a case for analyzing similar situations in other countries.
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Acocella, Joan, and Frank W. D. Ries. "The Dance Theatre of Jean Cocteau." Dance Research Journal 19, no. 1 (1987): 44. http://dx.doi.org/10.2307/1477773.
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Grow, Mary L., and Mattani Mojdara Rutnin. "Dance, Drama, and Theatre in Thailand." Asian Theatre Journal 12, no. 2 (1995): 361. http://dx.doi.org/10.2307/1124117.
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Dowling, Niamh, Miranda Tufnell, and Lucia Walker. "Shared discoveries in theatre and dance." Theatre, Dance and Performance Training 12, no. 2 (April 3, 2021): 272–84. http://dx.doi.org/10.1080/19443927.2021.1899972.
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Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (October 8, 2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.
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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.
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Carroll, Noël. "Theatre, dance, and theory: A philosophical narrative." Dance Chronicle 15, no. 3 (January 1992): 317–31. http://dx.doi.org/10.1080/01472529208569103.
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Sparshott, Francis. "Some aspects of nudity in theatre dance." Dance Chronicle 18, no. 2 (January 1995): 303–10. http://dx.doi.org/10.1080/01472529508569206.
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Hodgson, Amanda. "Beyond the Opera House: Some Victorian Ballet Burlesques." Dance Research 38, no. 1 (May 2020): 7–24. http://dx.doi.org/10.3366/drs.2020.0288.
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Histories of ballet have tended to pay little attention to Victorian theatre dance that was not performed in the opera house or the music hall. A great deal of dance was embedded in such popular theatrical genres as melodrama, extravaganza and burlesque, and is therefore best understood in the context of the wider theatrical culture of the period. This essay examines two ballet burlesques performed at the Adelphi Theatre in the 1840s: The Phantom Dancers (a version of Giselle) and Taming a Tartar (based on Le Diable à quatre). When located in relation to the generic qualities of other theatrical burlesques of the period, their particular combination of parody and serious attention to classical dance is clarified. In both plays classical dance is set against more demotic dance styles. This serves as a way of mocking the excesses of the original ballets, but also as a way of interrogating the nature and significance of the danse d’école when presented to a popular theatre audience.
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Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.
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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.
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Goodman, Karen. "Synthesis in Motion." Experiment 20, no. 1 (October 27, 2014): 86–117. http://dx.doi.org/10.1163/2211730x-12341260.
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This paper discusses the importance of Russian-born choreographer, theatre director, and teacher Benjamin Zemach (1901-1997) to Los Angeles. It contextualizes the sustained influences of his Jewish heritage, his training with Stanislavsky and Vakhtangov in the Habima Theatre, Russian dance and theatre synthesis and early American modern dance. The article focuses on his work in Los Angeles during two different periods of American culture and politics preceding and following World War ii (1931-35 and 1946-71), examining closely his contributions to Los Angeles Jewish and mainstream dance and theatre through an analysis of his choreographies for the stage and film as well as his teaching methodologies.
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Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (August 2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.
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Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Awasthi, Suresh, and Jukka O. Miettinen. "Classical Dance and Theatre in South-East Asia." Asian Theatre Journal 11, no. 2 (1994): 312. http://dx.doi.org/10.2307/1124239.
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Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (November 2013): 174–90. http://dx.doi.org/10.3366/drs.2013.0075.
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Programming schedules in the West End and other prominent London venues are increasingly featuring hip-hop dance productions, marking innovative forays into the mainstream performance field by a former subcultural style. Choreography by Rennie Harris in the USA and Jonzi D, Kate Prince, Sandy ‘H20’ Kendrick and composer Michael ‘Mikey J’ Asante in London offers material through which to consider developments in the theatricalisation of hip hop culture. Discussion also centres on mass media dissemination through television talent shows, films and cultural festivals such as the Olympic Games ceremonies. Analysis of reviews by professional critics reveals how some stereotypes are disrupted as the cultural capital of hip-hop dance rises. Key themes, including the use of narrative, characterisation and the disruption of dominant gender expectations, are drawn from a Society for Dance Research Study Day on ZooNation Dance Company in 2011. *
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Shevtsova, Maria. "Revolutions Remembered: the Golden Mask in Moscow 2017." New Theatre Quarterly 33, no. 3 (July 10, 2017): 288–98. http://dx.doi.org/10.1017/s0266464x1700032x.
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The 2017 Golden Mask and National Theatre Award and Festival in Moscow offered, as it usually does, a wide range of large- and small-scale theatre, musical theatre, opera, ballet, contemporary dance, and puppetry – a month and more of intensive activity that keeps its annually changing jury on its toes. Maria Shevtsova provides an overview of the Russian Case: a concentration of productions for foreign producers and critics that reflects quite accurately the Golden Mask's complete spoken theatre selection (as distinct from other forms of theatre such as dance). She observes that a cluster of productions refers to rebellions and revolutions that preceded the 1917 October Revolution, though none deals directly with that event. Remaining works allude in various ways to more recent Russian and global history, showing how its makers are sensitive to a past that filters through the more than troubling present. Maria Shevtsova, Professor at Goldsmiths, University of London, is co-editor of New Theatre Quarterly.
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Greig, David. "‘I Let the Language Lead the Dance’: Politics, Musicality, and Voyeurism." New Theatre Quarterly 27, no. 1 (February 2011): 3–13. http://dx.doi.org/10.1017/s0266464x11000017.
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David Greig is one of Britain's most versatile and exciting playwrights, whose awardwinning work – commissioned by, among others, Suspect Culture, the Royal Shakespeare Company, the National Theatre of Scotland, the Edinburgh International Festival, and the Traverse Theatre – has been performed all over the world. His personal voice is characterized by the sensitive musicality of his text, an individual sense of humour, and an acute awareness of the world around us. Whether his protagonists are Cambridge ornithologists, Scottish lords, or American pilots, Greig creates works of extreme visual beauty and emotional directness in lyrical soundscapes. In the interview which follows, completed in June 2010, he discusses the themes of politics and national identities; language, music, and experimental forms; directors, directing, and adaptations; and watching bodies on stage. Greig believes that theatre is a form of voyeurism, ‘a consensual exchange’ to ‘look at people and watch how they behave’. In his work, the act of watching thus acquires a new role surpassing the simple function of pleasure, and enabling the viewer to engage further with the theatre's mediation to comment, justify, explain, and promote a better understanding of the complexities of human nature – voyeurism in theatre being re-read as a new freedom of the gaze, and its fetishistic attributes re-evaluated as an emancipation of restrained energy, testing the boundaries of taboo. George Rodosthenous is Lecturer in Music Theatre at the School of Performance and Cultural Industries of the University of Leeds. He is Artistic Director of the Altitude North theatre company, and also works as a freelance composer for the theatre. He is currently working on the book Theatre as Voyeurism: the Pleasure(s) of Watching.
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Popalisky, David J., and Marie G. Herbert. "“Defining the Performing Artist”: How a Health Psychology Course Integrates into University Performing Arts Training." Medical Problems of Performing Artists 15, no. 4 (December 1, 2000): 148–54. http://dx.doi.org/10.21091/mppa.2000.4029.
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University dance and theatre students are at risk for a range of eating disorders because their bodies are their primary instrument of focus and performance and because of the developmental challenges of young adulthood. The head of the dance program and a psychologist from the same private university’s counseling center collaborated to create a course to address the psychological and physical health needs of this group of students. The history of the development of the course is presented, followed by a discussion of its content, preliminary assessment of its effectiveness, and future directions.
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George, David E. R. "Quantum Theatre – Potential Theatre: a New Paradigm?" New Theatre Quarterly 5, no. 18 (May 1989): 171–79. http://dx.doi.org/10.1017/s0266464x00003067.
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The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory makes for a paradigm which is no less compelling, according to which the sense of theatrical ‘potentiality’ which characterizen much contemporary experimental theatre is illuminated and paralleled by the refusal of scientific certainty that quantum theory confronts and accommodates. David George. whose ‘Letter to a Poor Actor’ appeared in NTQ 8 (1986), taught in the Universities of California at Berkeley, Gottingen, Malaysia, and Peking before taking up his present post at Murdoch University, Western Australia. His books include studies of Ibsen. German tragic theory, and Indian ritual dance–drama.
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FENG, WEI. "Performing Comic Failure inWaiting for GodotwithJingjuActors." Theatre Research International 42, no. 2 (July 2017): 119–31. http://dx.doi.org/10.1017/s0307883317000256.
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Since the 1980s the Taiwanese theatre troupe Contemporary Legend Theatre (CLT) has been devoted to transformingjingjuby way of adapting world classics. Through an analysis of its adaptation of Samuel Beckett'sWaiting for Godot(2005), this article considers how CLT pushes the boundaries ofjingjuacting, which is made up of singing, speaking, dance-acting and combat. To meet Beckett's challenge of performing comic failure, CLT integratesjingjurestraint and Western slapstick. In so doing, CLT liberates the actors’ bodies fromjingjuconventions to produce a new aesthetic, which also gives the original play a new metaphysical interpretation.
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Shevtsova, Maria. "Performance, Embodiment, Voice: the Theatre/Dance Cross-overs of Dodin, Bausch, and Forsythe." New Theatre Quarterly 19, no. 1 (January 10, 2003): 3–17. http://dx.doi.org/10.1017/s0266464x02000015.
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The closing decades of the twentieth century and the opening years of the twenty-first have seen a wide range of hybrid and cross-over performance forms, dance/theatre being prominent among them. In this article, Maria Shevtsova outlines the similarities between the working principles of director Lev Dodin and those of the choreographers Pina Bausch and William Forsythe, suggesting how they have set and still exemplify current trends in a networked world (Castells) of precarity (Bourdieu) and uncertainty. She also explores a broader socio-artistic context for her focus. This text is a slightly modified version of a belated inaugural lecture for her third appointed professorial chair, at Goldsmiths College, University of London, in March 2002. Maria Shevtsova is an Advisory Editor of NTQ, whose recent publications include ‘Theatre and Interdisciplinarity’ (2001), a special issue she guest-edited for Theatre Research International, and ‘The Sociology of the Theatre’ (2002), edited for Contemporary Theatre Review, which includes her essay, ‘Appropriating Pierre Bourdieu's Champ and Habitus for a Sociology of Stage Productions’. Her book on Lev Dodin and the Maly Drama Theatre of St Petersburg is due for publication in 2003.
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Lansdale, Janet. "Ancestral and Authorial Voices in Lloyd Newson and DV8's ‘Strange Fish’." New Theatre Quarterly 20, no. 2 (April 21, 2004): 117–26. http://dx.doi.org/10.1017/s0266464x04000028.
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Lloyd Newson has worked in Europe for some twenty-three years with DV8 Physical Theatre, creating powerful socio-political pieces which address sexuality and interpersonal relationships. These works are generally created with performers through workshop processes and collaboratively with composers. London's experimental dance and theatre scenes in the 1980s and early 1990s provided a challenging context for Lloyd Newson's early creative endeavours. Here, Janet Lansdale takes one work, Strange Fish, as the locus of her discussion on narrative positions in relation to dominant forms of modern dance and issues of sexuality, homophobia, and politics within physical theatre. She conceptualizes and contextualizes ‘voices’ as ‘authorial’ and ‘ancestral’, and traces their manifestation in readings of the work. Complementary and sometimes competing voices from author, text, reader, and cultural history are articulated through a range of intertextual perspectives. This is the second in a series of articles on this work. Janet Lansdale is Distinguished Professor in Dance Studies at the University of Surrey, where she was Head of Department, and later Head of the School of Performing Arts. She is the author and editor of four books on dance theory, history, and analysis, the most recent being Dancing Texts: Intertextuality in Interpretation (1999).
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Gargano, Cara. "Bodies, Rest, and Motion: from Cosmic Dance to Biodance." New Theatre Quarterly 16, no. 3 (August 2000): 211–18. http://dx.doi.org/10.1017/s0266464x00013841.
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Ancient myth and modern science share a common, cosmic perception of dance as the formulating principle of the universe – whether through metaphor, in the perception of a ‘biodance of life’, or in the closeness to actuality of the ‘dance of the electrons’ at a sub-atomic level. A line of articles in NTQ has explored such connections, with theatrical examples deriving from and illuminating the scientific theory under discussion – but with dance, strangely, relatively neglected as a source of such examples. Here, Cara Gargano takes a number of major modern dance events from the span of the twentieth century to show the interaction between dance and scientific theory, from Loïe Fuller's work at its beginning to Maguy Marin's Coppélia towards its end. The latter, she argues, ‘brings quantum mechanics and chaos theory into the sociological realm’ as it demonstrates ‘how consciousness and social relations are tied to the new physics’. Cara Gargano is Chair of the Department of Theatre, Film, and Dance at the C. W. Post Campus of Long Island University. She has published in Modern Drama, L'Annuaire Théâtrale, and Dance and Research. In New Theatre Quarterly, her earlier contributions on plays which construct their world to reflect the new science were published in NTQ51 and NTQ54.
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Gambogi, Tiago. "Dance, theatre and artivism on a planet in transformation." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 179–88. http://dx.doi.org/10.1386/jdsp_00056_1.
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Astier, Régine. "Dance and the Jesuit Theatre of the Ancien Régime." Dance Chronicle 21, no. 2 (January 1998): 299–301. http://dx.doi.org/10.1080/01472529808569313.
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Reinelt, Janelle. "POWER WORKING THROUGH/ON BODIES IN THE UNITED KINGDOM." Theatre Survey 52, no. 1 (May 2011): 153–58. http://dx.doi.org/10.1017/s0040557411000123.
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(Note: This statement started its life as part of the State of the Profession panel at the joint American Society for Theatre Research / Congress on Research in Dance conference in Seattle [November 2010]. I was asked to respond to the question of “how power has worked on/through/with bodies in the fields of dance and theatre studies, and in the academy at large.” I decided to speak about the serious crisis facing higher education in light of the economic recession, and its particular challenges to the academy and our field, using my present context in the United Kingdom, where I have lived since 2006, as a case study.)
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Casson, Tim. "JV2: Dance-theatre training and the importance of versatility." Theatre, Dance and Performance Training 7, no. 1 (January 2, 2016): 126–30. http://dx.doi.org/10.1080/19443927.2016.1148932.
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Parker-Starbuck, Jennifer. "The Body Electric: Cathy Weis at Dance Theatre Workshop." PAJ: A Journal of Performance and Art 25, no. 2 (May 2003): 93–98. http://dx.doi.org/10.1162/152028103321781619.
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Smith, Mary Lynn. "Moving Self: The thread which bridges dance and theatre." Research in Dance Education 3, no. 2 (December 2002): 123–41. http://dx.doi.org/10.1080/1464789022000034695.
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Ley, Graham. "Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment." New Theatre Quarterly 7, no. 28 (November 1991): 348–52. http://dx.doi.org/10.1017/s0266464x00006047.
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Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zealand, and his Short Introduction to the Ancient Greek Theatre will shortly appear from the University of Chicago Press.
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Lannen, Maud. "Touching across: Performing new dance ecologies through dialogical choreographies." Journal of Dance & Somatic Practices 14, no. 2 (December 1, 2022): 165–82. http://dx.doi.org/10.1386/jdsp_00085_1.
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Postmodern dance and somatics have foregrounded the sense of touch via the skin as a subject of inquiry and a catalyst for change, nowhere more so than in Paxton’s Contact Improvisation (CI). Touch continues to be explored choreographically, beyond CI, in contemporary dance to increasingly stage more daring, excessive sensuality and erotics between performers and performers/audience for mainstream theatre. Such tactile strategies and displays, I suggest, raise timely questions about the politics of touch and what touch constitutes. This article is the second instalment of a wider research project that attempts to unsettle Global North and the dance discipline’s presuppositions about physical contact. Here, I build upon one of Paxton’s lesser-known theoretical influences that spurred the development of CI, namely his research into mother–child touch communication and ask: how might a feminist reassessment of maternal relationality – its haptics – generate new knowledge about touch and neo-liberal economy? How might such reconception move us towards different bodily practices and ethics grounded in the twenty-first century in dance and beyond?
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Banks, Ojeya Cruz. "Yvette Hutchison and Chukwuma Okoye (eds), African Theatre: Contemporary Dance." Dance Research 38, no. 1 (May 2020): 124–26. http://dx.doi.org/10.3366/drs.2020.0295.
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Richmond, Farley, and Nirmala Paniker. "Nangiar Koothu: The Classical Dance-Theatre of the Nangiar-s." Asian Theatre Journal 12, no. 1 (1995): 206. http://dx.doi.org/10.2307/1124481.
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Kardhares, Dhionysios, and Elias S. Demas. "Dance, Music, and Song in Heptanese Folk Theatre: The ZakynthianHomilia." Dance Chronicle 26, no. 3 (January 10, 2003): 311–31. http://dx.doi.org/10.1081/dnc-120025268.
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Shan Chou, Eva, and Lee G. K. Singh. "Archives of the Dance (27), The Establishment of Beijing Dance School in the First-Hand Report of Soviet Specialist O. A. Il'ina: Introduction, Translation, Notes." Dance Research 40, no. 1 (May 2022): 11–40. http://dx.doi.org/10.3366/drs.2022.0356.
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The Beijing Dance School was founded in 1954 by China's Ministry of Culture to develop the dance arts through professional training in Chinese classical dance, the folk dances of the ethnic minorities and Han Chinese, and ballet and character dance. Ol'ga Aleksandrovna Il'ina's report, filed with the USSR Ministry of Culture, is the only known Soviet account, covering both the intense preparations for the school and the complexities of its first year of operation. Aspects of her report provide insights into 1) the Soviet model of dance propagation and the nuts and bolts of how it produced the ballet-inflected Chinese dance genres, 2) the convergence of the military dance performance system with the professionalization of civilian dance training, and 3) China's role in the dance history of the Cold War, specifically the tours of Moiseyev Dance Company and Stanislavsky and Nemirovich-Danchenko Musical Theatre. This article translates Il'ina's report and provides an introduction and notes.
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Bannerman, Henrietta. "Is Dance a Language? Movement, Meaning and Communication." Dance Research 32, no. 1 (May 2014): 65–80. http://dx.doi.org/10.3366/drs.2014.0087.
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This essay explores western theatre dance as meaningful, despite its difference from language or discourse. I contend that although like language dance communicates through cultural codes, it does not convey literal messages but then neither is dance dominated by a requirement for factual specificity. I argue, however, that dance is structured like a language and I provide an analysis of the methods according to which language functions on an everyday basis. I review linguistic categories and argue for their counterparts in dance including vocabulary and syntax, the utterance and the speech act. The speech act is an important instance of language use which I hold is represented in dance; and in addressing this topic I shed new light on the performative quality of dance. The various theoretical issues discussed in the essay are illustrated by examples taken from modern and postmodern dance as well as from classical ballet.
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Mitra, Royona. "Talking Politics of Contact Improvisation with Steve Paxton." Dance Research Journal 50, no. 3 (December 2018): 6–18. http://dx.doi.org/10.1017/s0149767718000335.
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In the autumn of 2015, on the back of the publication of my monograph Akram Khan: Dancing New Interculturalism (Mitra 2015), I was settling into my Brunel University London-sponsored sabbatical to kick-start my postdoctoral research project, then titled “Historicizing and Mapping British Physical Theatre.” At that stage, this new field of study, methodology, and tone of enquiry felt significantly different from the decolonial spirit of my book, which examines the works of the British-Bangladeshi dance artist Akram Khan at the intersections of postcoloniality, race, gender, sexuality, mobility, interculturalism, and globalization, arguing for his choreographic choices as discerning political acts that decenter the whiteness of contemporary western dance from his position within this center. With this new project I was keen, instead, to investigate the development of “British physical theatre” as an interdisciplinary genre that emerged interstitially between and through its “double legacy in both avant-garde theatre and dance” (Sánchez-Colberg 2007, 21) with a particular emphasis on what the import of the choreographic vocabulary of partnering would have brought to these experiments. Very conscious that the now ubiquitous aesthetic of partnering in contemporary Euro-American theater dance derived its roots from the somatic explorations of contact improvisation, I was intrigued to examine how the genre of British physical theatre would have engaged with choreographic touch from its somatic beginnings in contact improvisation to its politicized and aestheticized manifestation in partnering. I was also conscious, of course, of the role that Steve Paxton, the artist whose name has become synonymous with contact improvisation's inception and development in 1970s United States, had to play in teaching contact improvisation in the dance program at Dartington College of Arts in the United Kingdom (UK) in the 1970s and 1980s. Driven by a need to examine the potential relationship between Dartington's 1970s movement experiments with Paxton and contact improvisation, and the emergence of partnering as a key aesthetic within British contemporary dance, specifically its manifestation in physical theatre, I wanted to interview Paxton himself. Needless to say, I was of course fully aware of the difficulty in making such an important research opportunity materialize. However, within months, the remarkable generosity of our dance studies network, in this instance embodied by Professors Susan Foster and Ann Cooper Albright, and the dance artist Lisa Nelson, led me to the inbox of Steve Paxton himself in November 2015. Paxton was instantly responsive to my e-mail communications, and deeply invested and committed to sharing his experiences and insights with me. We arranged our Skype interview for early 2016, agreeing that this would give me enough time to research existing interviews with Paxton, in print and on video, to ensure that I could delineate my own questions for him in productive ways. The more I researched, the more a feature of the extensive archive of interviews with Paxton revealed itself: the predominant absence of bodies and perspectives of color from the early days of contact improvisation's experiments. This absence, in turn, became more and more present in my thinking.
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Rogers, Amanda. "Advancing the geographies of the performing arts." Progress in Human Geography 42, no. 4 (February 9, 2017): 549–68. http://dx.doi.org/10.1177/0309132517692056.
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Performance has become an analytical lens for examining a range of geographical phenomena. However, research specifically on the geographies of the performing arts has not kept pace with this broader field. Here, I argue for a deeper engagement with the theories and practices of the performing arts, particularly as research on creativity and the geohumanities gathers momentum. The article focuses on three areas where literatures from theatre and performance studies can expand our understanding of what ‘the geographies of the performing arts’ might be: intercultural aesthetics, migrant mobilities, and geopolitics. It examines how these come together in contemporary Cambodian dance.
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Schneider, Robert, and Nathan Schneider. "A Dive and a Dance with Kabuki Vaudeville: Taishū Engeki Comes Back!" New Theatre Quarterly 36, no. 3 (August 2020): 256–71. http://dx.doi.org/10.1017/s0266464x20000470.
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Taishū engeki occupies a niche in Japanese popular theatre between the all-male troupes of state-subsidized Kabuki and the highly commercial, all-female troupes of the Takarazuka Revue. Its origins are disputed: while some scholars trace it back to the thirteenth century, others say it is mostly a post-war phenomenon. Family-based, itinerant troupes comprising both sexes book theatres for a month at a time. They live in the theatre, sleeping onstage or in the house. They perform twice daily for largely working-class audiences. Tickets are cheap, but troupes supplement their box office with merchandise sales and with generous tips which patrons deliver in mid-performance. The form draws heavily on onnagata performance in Kabuki, less heavily on the otokoyaku (women in men’s roles) of the Takarazuka Revue. In taishū engeki, however, actors of both sexes often cross-dress with star performers appearing en homme and en femme in quick succession. Like vaudeville, whose demise was repeatedly announced in the early decades of the last century, taishū engeki has often been pronounced dead. Yet despite its notorious geriatric core audience, there are signs that taishū engeki is coming back. Robert Schneider is an Associate Professor of Theatre and Dance at Northern Illinois University, DeKalb, Illinois. He is also a playwright and translator whose articles and reviews have appeared in the New York Times, American Theatre, and Plays International & Europe. Nathan Schneider is a writer and translator who lives in Tokyo.
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Lunberry, Clark. "Dance of Light and Loss." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 56–62. http://dx.doi.org/10.1162/pajj_a_00317.
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On a bright and sunny Sunday afternoon in the Ogikubo district of western Tokyo, in the dark basement of Saburo Teshigawara's dance studio and performance space known as Karas Apparatus, an audience gathered to see the dancer's newest solo performance, Fool. The uncurtained stage in the small theatre was empty and unlit, the stage itself far larger, perhaps three times larger than that tight space reserved for those attending the event. What lights there were faintly illuminated only the slightly raised rows of cushions upon which the forty of us in the audience took our seats, waiting for the performance to begin.
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Thomas, Karen Kartomi. "Dimensions of Dance with Reference to Song Lyrics: Improvisatory Processes and Practices in Indonesian Malay Mendu Theatre Performance." Dance Research 36, no. 2 (November 2018): 253–68. http://dx.doi.org/10.3366/drs.2018.0240.
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In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated their dances; thereby devising a choreology of Malay theatrical dance. Four performance parameters – motivic sequencing, improvisation, reflexive-cueing, and the dance-lyrics dynamic – were employed to guide and control these mechanisms. This case study aims to show how analysing a creative dance method benefits from an ethnographic research approach. 1
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Sarlós, Robert K. "“Write a Dance”: Lazarus Laughed as O'Neill's Dithyramb of the Western Hemisphere." Theatre Survey 29, no. 1 (May 1988): 37–49. http://dx.doi.org/10.1017/s004055740000908x.
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Eugene O'Neill pushed his habitual experimentation with theatrical forms toward the establishment of a radically new esthetic in The Great God Brown (1925) and Lazarus Laughed (1926). He groped toward a poetic theatre with religious and ceremonial overtones that involved further visual and aural departures from the accepted norm of Broadway productions. In the first of these plays, O'Neill's mastery of visceral effects continues to cast a spell over spectators in occasional imaginative and skillful productions. But the second remains his least accessible; ever since its first production at the Pasadena Playhouse in April 1928, it has continued to mystify or repel both theatre people and litterateurs.
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Fensham, Rachel. "Trajectories of the ‘Dead Heart’: Performing the Poetics of (Australian) Space." New Theatre Quarterly 24, no. 1 (January 30, 2008): 3–13. http://dx.doi.org/10.1017/s0266464x08000018.
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In this paper Rachel Fensham returns to the writings of Gaston Bachelard in order to examine the poetics of space from a non-European perspective. Spatial metaphors, such as the ‘dead heart’ that might evoke phenomenological and psychic dimensions of space in Australia, also register in historical and geographical imaginaries. However, postcolonial theories of space disturb visual metaphors and cartographic concepts in the mises en scène of theatrical performance. Here, Fensham analyzes two recent performances that radically reimagine the poetics of (Australian) space through the movement trajectories of walking and falling. Rachel Fensham is a Professor of Dance and Theatre Studies at the University of Surrey. Her book with Denise Varney, The Dolls' Revolution: Australian Theatre and Cultural Imagination (Australian Scholarly Publishing, 2005), examines the influence of women playwrights on mainstream Australian theatre, and she is currently undertaking research on transnationalism and choreographic practice.
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AMES, MARGARET, DAVE CALVERT, VIBEKE GLØRSTAD, KATE MAGUIRE-ROSIER, TONY MCCAFFREY, and YVONNE SCHMIDT. "Responding to Per.Art'sDis_Sylphide: Six Voices from IFTR's Performance and Disability Working Group." Theatre Research International 44, no. 1 (March 2019): 82–101. http://dx.doi.org/10.1017/s0307883318000846.
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This submission by IFTR's Performance and Disability working group features responses by six participants – voices projected from Canada, New Zealand, Norway, Wales, England and Australia – to Per.Art's productionDis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. The company brings together people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students to make work. This co-authored submission examines how the production responds to three important dance works of the twentieth century – Mary Wigman'sHexentanz(1928), Pina Bausch'sKontakthof(1978) and Xavier Le Roy'sSelf Unfinished(1998) – to explore normalizing and normative body concepts in dance theatre and in society, and how they have been migrating over the course of dance histories. The shared experience of witnessing the performance provoked discussion on the migration of dance forms across time and cultures, as well issues of access and (im)mobility, which are especially pertinent to a disability studies context.
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Adam, Julie. "The Dance of Images: Vladimir Mirzoev and Toronto's Horizontal Eight." New Theatre Quarterly 10, no. 39 (August 1994): 281–89. http://dx.doi.org/10.1017/s0266464x00000580.
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In addition to being a theatre director, Vladimir Mirzoev is a novelist, poet, critic, and artist. Born in Moscow in 1957, he studied with Mark Mestechkin, a disciple of his teachers Sergei Eisenstein and Vsevolod Meyerhold. Before he emigrated to Toronto, Canada, in May 1989, Mirzoev was known in Russian theatre as an iconoclast and a leading figure of the avant garde. His productions of Voltaire, Pushkin, Gogol, Büchner, Strindberg, Claudel, Weiss, and Howard Barker became renowned for the plasticity of the actors' movement and the use of metaphor to convey meaning, and Russian critics hailed his extraordinary ability to sculpt his own distinctive theatrical language, blending the ironic and the grotesque. In NTQ32 (August 1992) we published an interview with Mirzoev conducted by Rita Much: here, Julie Adam takes up the story, with an assessment of the director's work with ‘Horizontal Eight’ in Toronto – notably the productions, of Gogol's The Inspector General, Wilde's Salome, Camus's Caligula, and Barker's The Possibilities.
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Sörgel, Sabine. "Poppies, Ropes, and Shadow Play: Transcultural Memories of the First World War during Brexit." New Theatre Quarterly 37, no. 2 (April 29, 2021): 174–89. http://dx.doi.org/10.1017/s0266464x21000051.
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The years 2014 to 2018 witnessed the centenary of the First World War, commemorated around different cities and other locations around the world. In the United Kingdom, public centenary commemorations were funded by the Tory government, Heritage Lottery Fund, and private and corporate donors with an overall budget of over fifty million pounds, including the cultural programme 14–18 NOW that encompassed television documentaries, educational programmes, art exhibitions, theatre, and dance performances. 2016 was also the year of the divisive Brexit referendum, when Leave voters won by a small margin to end Britain’s membership of the European Union. As Britain sought to redefine its global political role, artists devised a set of suggestive transcultural acts of remembrance to spur public debate about the colonial past and current resurging nationalism. This article discusses three important theatrical events commissioned by 14–18 NOW: Paul Cummins and Tom Piper’s Blood Swept Lands and Seas of Red (2014), Akram Khan’s XENOS (2018), and William Kentridge’s The Head & the Load (2018). Each theatrical event refocused awareness regarding long-standing crises of identity conflicts at the heart of Britain’s contemporary politics, pointing towards an uncertain national future. Sabine Sörgel was Senior Lecturer in Dance and Theatre at the University of Surrey (2013–2019) and is now an independent scholar, writer, and dramaturge. Her most recent book is African Contemporary Dance Theatre: Phenomenology, Whiteness, and the Gaze (Palgrave Macmillan, 2020).
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Petts, Louisa. "Dance Research Matters, Belgrade Theatre, Coventry, 27 May 2021." Journal of Dance & Somatic Practices 14, no. 1 (July 1, 2022): 141–46. http://dx.doi.org/10.1386/jdsp_00075_5.
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Sponsler, Claire. "Writing the Unwritten: Morris Dance and the Study of Medieval Theatre." Theatre Survey 38, no. 1 (May 1997): 73–95. http://dx.doi.org/10.1017/s0040557400001848.
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During the course of her summer's progress in 1575, Elizabeth I spent nineteen days at Kenilworth, the Earl of Leicester's Castle in Warwickshire, where she was presented with various entertainments—including plays, fireworks, bear-baitings, water-pageants, acrobatic performances, and dancing—at a cost of over a thousand pounds a day, as part of what has been called “unquestionably sixteenth-century England's grandest and most extravagant party.” Robert Langham, a minor court functionary who wrote an eyewitness account of the party, describes a “lyvely morisdauns” that was featured in this festive show of fealty to the queen. According to Langham, the morris performed for Elizabeth was danced “acording too the auncient manner” and featured “six daunserz, Mawdmarion, and the fool.” The dance was part of a bride-ale procession made up of “lusty lads and bolld bachelarz of the parish” arranged two by two in “marciall order,” who preceded sixteen horsemen and the bridegroom; after the horsemen came the morris dance, followed by three “prety puzels” carrying spicecakes and leading the bride (“ill smellyng” and “ugly fooul ill favord”), who was accompanied by “too auncient parishionerz, honest toounsmen” and a dozen bridesmaids. The procession marched to the castle in the great court in which a quintain had been set up for feats of arms; when these games were concluded, a performance of the traditional Hock Tuesday play from nearby Coventry was enacted. Though these festivities were staged outside her window, apparently the queen did not see much of them because, Langham tells us, “her highnes behollding in the chamber delectabl dauncing indeed: and heerwith the great throng and unruliness of the peopl, waz cauz that this solemnitee of Brydeale and dauncing had not the full muster waz hoped for” (11. 722–26). Elizabeth asked that the Hocktide play be performed again for her on the following Tuesday; Langham does not mention whether or not the morris dance was also repeated for the queen's pleasure.