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Libros sobre el tema "Choreography"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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1

Vendrame, Romeo. Choreography. [Zurich]: Superheated Edition, 2017.

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2

Butterworth, Jo y Liesbeth Wildschut, eds. Contemporary Choreography. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315563596.

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3

Rouhiainen, Leena, Kirsi Heimonen, Rebecca Hilton y Chrysa Parkinson. Writing Choreography. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003397427.

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4

DeFrantz, Thomas F. y Philipa Rothfield, eds. Choreography and Corporeality. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54653-1.

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5

Goodwin, Marjorie. Embodied Family Choreography. 1 Edition. | New York : Routledge, 2018. | Series: Directions in ethnomethodology and conversation analysis: Routledge, 2018. http://dx.doi.org/10.4324/9781315207773.

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6

P, Cohan Robert y Beck Jill, eds. Choreography and dance. Reading: Harwood, 1991.

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7

Brown, Tracy. Staging and choreography. New York: Rosen Pub., 2013.

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8

Arundhati, P. Choreography in Mānasôllāsa (Nr̥tyavinôda). New Delhi: Preeti Publications, 1995.

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9

McCormack, Jess. Choreography and Verbatim Theatre. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92019-1.

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10

Gonzales, Joseph. Choreography: A Malaysian perspective. Kuala Lumpur, Malaysia: Akademi Seni Kebangsaan, 2004.

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11

Heath, Fran. Synchronized swim routine choreography. Edmonton, Alta: Synchro Swim Alberta, 1989.

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12

Supriyanto, Enin. Choreography of colors #2. Jakarta, Indonesia: Nadi Gallery, 2010.

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13

Supriyanto, Enin. Choreography of colors #2. Jakarta, Indonesia: Nadi Gallery, 2010.

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14

Ugolo, Chris. Introduction to dance choreography. Ughelli [Nigeria]: New Era Publications, 1998.

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15

Kusumo, Sardono W. Choreography of colours #3. [Semarang]: Semarang Gallery, 2012.

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16

Hayes, Diana. The choreography of desire. Vancouver: Rainbow Publishers, 1999.

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17

Welch, Shay. Choreography as Embodied Critical Inquiry. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93495-8.

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18

Minton, Sandra Cerny. Choreography: A basicapproach using improvisation. Champaign, Ill: Human Kinetics Publishers, 1986.

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19

Bakare, Ojo Rasaki. Rudiments of choreography: An introduction. [Samaru-Zaria: Space 2000 Pace Publishers], 1994.

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20

Tarin, Chaplin L., ed. The intimate act of choreography. London: Dance Books, 1989.

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21

Staff, Journals for All. Choreography Work: Choreography Log. Independently Published, 2017.

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22

Staff, Journals for All. Work Choreography: Choreography Log. Independently Published, 2017.

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23

Staff, Journals for All. Work Choreography: Choreography Log. Independently Published, 2017.

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24

Minton, Sandra Cerny. Choreography. Human Kinetics, 2018. http://dx.doi.org/10.5040/9781718203495.

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25

Staff, Journals for All. Work Dance Choreography: Choreography Log. Independently Published, 2017.

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26

Guy, Priscilla. Where Is the Choreography? Who Is the Choreographer? Editado por Douglas Rosenberg. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199981601.013.28.

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This chapter examines editing as a springboard to envision new types of choreographic practices for screendance and proposes choreographic editing as a dance-making approach embedded within the process of editing, encouraging further headway into screendance practices. Martin Heidegger’s thinking provides insightful tracks to follow in theorizing the role of contemporary screendance choreography and mediated dances/bodies on screen. Erin Braningan’s concept of micro-choreographies and Harmony Bench’s essay on anti-gravitational choreographies in screendance suggest ideas of choreographic editing as an alternate approach to contemporary choreography. These are illustrated by editing strategies in three screendance works—Pas de Deuxby Norman McLaren,An Ostrich Proudlyby Xan Burley and Alex Springer, and Béla Tarr’sThe Turin Horse.The films show how techniques ranging from reediting of dancers’ motions to a quasi-absence of cuts that reveals strong kinesthetic empathy for the viewer all open up new possibilities of using editing in a powerful way.
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27

ife, fahima. Maroon Choreography. Duke University Press, 2021.

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28

Hewitt, Andrew. Social Choreography. Duke University Press, 2005. http://dx.doi.org/10.1215/9780822386582.

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29

Pouillaude, Frédéric. Unworking Choreography. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.001.0001.

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There is no archive or museum of human movement where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. This book develops this idea and postulates a désoeuvrement (unworking) as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works (and developing a philosophical theory of dance identity) given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of “ends” of dance in contemporary practice and the relativization of the very idea that dance artistic or choreographic processes aim at work production.
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30

ife, fahima. Maroon Choreography. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021568.

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In Maroon Choreography fahima ife speculates on the long (im)material, ecological, and aesthetic afterlives of black fugitivity. In three long-form poems and a lyrical essay, they examine black fugitivity as an ongoing phenomenon we know little about beyond what history tells us. As both poet and scholar, ife unsettles the history and idea of black fugitivity, troubling senses of historic knowing while moving inside the continuing afterlives of those people who disappeared themselves into rural spaces beyond the reach of slavery. At the same time, they interrogate how writing itself can be a fugitive practice and a means to find a way out of ongoing containment, indebtedness, surveillance, and ecological ruin. Offering a philosophical performance in black study, ife prompts us to consider how we—in our study, in our mutual refusal, in our belatedness, in our habitual assemblage—linger beside the unknown. Duke University Press Scholars of Color First Book Award recipient
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31

ife, fahima. Maroon Choreography. Duke University Press, 2021. http://dx.doi.org/10.1515/9781478021568.

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32

Waterhouse, Elizabeth. Processing Choreography. transcript Verlag, 2022. http://dx.doi.org/10.1515/9783839455883.

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33

Pakes, Anna. Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.001.0001.

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Focusing on Western theatre dance, Choreography Invisible explores the metaphysics of dances and choreographic works. It draws on a range of resources from analytic philosophy of art to develop the argument that dances are repeatable structures of action. The book also analyses the idea of the dance work in long-term historical perspective. Tracing different ways in which dances have been conceptualised across time, the book considers changing notions of authorship, fixity, persistence, and autonomy from the fifteenth century to the present day. The modern work-concept is interrogated, its relativity and contested status (particularly within contemporary dance practice) acknowledged. As the dance work disappears from contemporary discourse, what can be said about the kind of thing it is? Choreography Invisible considers the materials of dance making and the nature (and limits) of choreographic authorship. It explores issues of identity and persistence, including why distinct (and sometimes quite various) performances are still treated as performances of the same work. The book examines how dances survive through time and what it means for a dance work to be lost, considering the extent to which practices of dance reconstruction and reenactment can recuperate or reconstitute lost choreography. The focus here is dance, but the book addresses issues with wider implications for the metaphysics of art, including how the historical relativity of art practices should inflect analytic arguments about the nature of art works, and what place such works have within a broader ontology of human and natural worlds.
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34

Hewitt, Andrew. Social Choreography. Editado por Stanley Fish y Fredric Jameson. Duke University Press, 2005. http://dx.doi.org/10.1515/9780822386582.

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35

Butterworth, Jo. Contemporary Choreography. Routledge, 2012. http://dx.doi.org/10.4324/9780203124918.

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36

Urban Choreography. Melbourne University Publishing, 2018.

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37

Choreography Observed. University of Iowa Press, 1997.

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38

Sherif, Moideen. Visual Choreography. Habillis LLC, 2023.

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39

Maroon Choreography. Duke University Press Books, 2021.

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40

Choreography observed. Iowa City: University of Iowa Press, 1987.

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41

ife, fahima. Maroon Choreography. Duke University Press, 2021.

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42

Grampian Hospitals Art Trust Staff, Beverley Hood y Silvia Casini. Immobile Choreography. Grampian Hospitals Art Trust, 2019.

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43

Staff, Journals for All. Choreography Log. Independently Published, 2017.

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44

Anderson, Jack. Choreography Observed. University of Iowa Press, 1997.

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45

Sherif, M. Visual Choreography. Habillis LLC, 2022.

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46

Choreography Book. Lulu Press, Inc., 2023.

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47

McGuire, Seanan. Chaos choreography. 2016.

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48

Sherif, Moideen. Visual Choreography. Habillis LLC, 2023.

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49

Choreography Workbook. Independently Published, 2020.

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50

Choreography as work. Dance UK, 2001.

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