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Libros sobre el tema "Postmoderne dance"

Autor: Grafiati
Publicado: 31 de agosto de 2024
Última modificación: 31 de julio de 2025

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1

Midol, Nancy. La démiurgie dans les sports et la danse: Consciences traditionnelle, moderne et postmoderne. L'Harmattan, 1995.

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2

Bültzingslöwen, Cora von. Unorthodox: Wegbereiterinnen der tänzerischen Moderne und Postmoderne in Texten und Bildern : Maya Plisetkaya, Marcia Haydée, Gelsey Kirkland, Sylvie Guillem, Pina Bausch. Florian Noetzel Verlag, 2020.

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3

Louis, Murray. Murray Louis on dance. A Cappella Books, 1992.

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4

Tampini, Marina. Cuerpo e ideas en danza: Una mirada sobre el Contact improvisation. IUNA, Instituto Universitario Nacional de Arte, 2012.

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5

Louis, Murray. Murray Louis ondance. A Cappella Books, 1992.

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6

Silva, Eliana Rodrigues. Dança e pós-modernidade. EDUFBA, 2004.

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7

Klein, Susan Blakeley. Ankoku Butō: The premodern and postmodern influences on the dance of Utter Darkness. East Asia Program, Cornell University, 1988.

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8

Rowell, Bonnie. An investigation into critical analysis of postmodern dances. University of Surrey Roehampton, 2003.

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9

Portzamparc, Christian de. De la danse: Ecole du ballet de l'Opéra de Paris à Nanterre. Editions du Demi-Cercle, 1990.

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10

Dyke, Jan Van. Modern dance in a postmodern world: An analysis of federal arts funding and its impact on the field of modern dance. National Dance Association, 1992.

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11

Ley, Klaus. Dante Alighieri und sein Werk in Literatur, Musik und Kunst bis zur Postmoderne. Francke, 2010.

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12

Rudolf, Behrens, and Stillers Rainer 1949-, eds. Orientierungen im Raum: Darstellung räumlichen Sinns in der italienischen Literatur von Dante bis zur Postmoderne. Winter, 2008.

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13

Aponte, Marianna Ramírez. Coreografia del error, CONDUCTA de Viveca Vázquez. Museo de Arte Contemporáneo de Puerto Rico, 2013.

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14

Zuschreibung und Befremden: Postmoderne Repräsentationskrise und verkörpertes Wissen im balinesischen Tanz. Reimer, 2005.

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15

Daly. Postmodern Dance Americ Dance. Taylor & Francis Group, 2004.

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16

Daly. Postmodern Dance Americ Dance. Taylor & Francis Group, 2004.

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17

Banes, Sally. Terpsichore in Sneakers. Wesleyan University Press, 2011.

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18

Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance. Wesleyan University Press, 2011.

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19

Kirk, Johanna. Becomings: Pregnancy, Phenomenology, and Postmodern Dance. Routledge, Chapman & Hall, Incorporated, 2024.

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20

Thurner, Christina. Time Layers, Time Leaps, Time Loss. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.45.

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The crisis of historiography, diagnosed by postmodern theorists, is taken as a basis of methodological reflections on dance history/historiography. This chapter asks if and how dance as art and theory reflects on the problem of history and about the potential of a critical reworking, accounting, or narration of a history or histories proper to dance. Concerning the constructive character of historiography, the chapter discusses alternative models of historiography taken from other disciplines (especially literary theory) as they relate to dance and ultimately lay the foundation of a nonvectori
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21

Reinventing Dance in the 1960s: Everything Was Possible. University of Wisconsin Press, 2003.

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22

(Foreword), Mikhail Baryshnikov, Andrea Harris (Contributor), and Sally Banes (Editor), eds. Reinventing Dance in the 1960s: Everything Was Possible. University of Wisconsin Press, 2003.

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23

Eḳstremum: Mabaṭim ʻal yetsiratah shel Yasmin Goder. Muzeʼon Petaḥ-Tiḳvah le-omanut, 2014.

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24

The Wise Body: Conversations with Experienced Dancers. Intellect Ltd, 2011.

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25

Brandstetter, Gabriele. Showing Dance. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.49.

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The lecture performance is a format in contemporary dance, established since the 1990s in various pieces by choreographers and performers from different fields. This chapter draws on the history, aesthetics, and theory of the lecture performance from modern dance and the avant-garde to postmodern dance, and discusses examples of contemporary lecture performance, including Xavier Le Roy, Jérôme Bel, Lindy Annis, Martin Nachbar, among others. Starting from current definitions of “performance,” the chapter focuses on questions of the “solo”—the model of showing/demonstrating that is part of the p
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26

Ramsay, Burt. Judson Dance Theater. Routledge, 2006.

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27

Rossen, Rebecca. Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance. Oxford University Press, Incorporated, 2014.

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28

Rossen, Rebecca. Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance. Oxford University Press, 2014.

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29

Making Dances That Matter: Resources for Community Creativity. Wesleyan University Press, 2019.

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30

Burt, Ramsay. Judson Dance Theater: Performative Traces. Taylor & Francis Group, 2006.

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31

Burt, Ramsay. Judson Dance Theater: Performative Traces. Taylor & Francis Group, 2006.

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32

Burt, Ramsay. Judson Dance Theater: Performative Traces. Taylor & Francis Group, 2006.

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33

Burt, Ramsay. Judson Dance Theater: Performative Traces. Taylor & Francis Group, 2006.

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34

Burt, Ramsay. Judson Dance Theater: Performative Traces. Taylor & Francis Group, 2006.

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35

Judson Dance Theater: Performative traces. Routledge, 2007.

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36

Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance. Oxford University Press, Incorporated, 2014.

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37

Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance. Oxford University Press, 2014.

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38

Rothfield, Philipa. Experience and its Others. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0005.

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This chapter draws on Deleuzian thought in order to think through the role of experience within dance and the activity of dancing more generally. It contrasts phenomenological approaches to dancing, which appeal to notions of subjective agency, with a Deleuzian re-reading of subjectivity. In the process, it refers to Deleuze’s reading of Nietzsche, using Nietzsche’s concept of force to account for the many ways in which forces combine to produce movement. The notion of force is able to explain the way action unfolds without being the product of human agency. It offers a way of rethinking pheno
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39

Ross, Janice. The Choreography of Environments. Oxford University PressNew York, NY, 2024. https://doi.org/10.1093/9780197775660.001.0001.

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Abstract The Choreography of Environments: How the Home of Anna and Lawrence Halprin Transformed Contemporary Dance and Urban Design opens with an odd premise: objects and the domestic spaces dancers occupy seep into their aesthetic consciousness, shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreograph
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40

Emerging Bodies: The Performance of Worldmaking in Dance and Choreography. transcript Verlag, 2014.

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41

Carter, Julian B. Chasing Feathers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0006.

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This chapter puts Jerome Bel’s 2004 dance Veronique Doisneau in conversation with recent critical work on re-enactment to explore the complex temporal politics that emerge when postmodern dance draws on and restages classical forms. The chapter describes how such restaging can make time fold and pleat around dancing bodies and their audiences, soliciting embodied participation in the power structures of both past and present.
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42

Jackson, Naomi M., Rebecca Pappas, and Toni Shapiro-Phim, eds. The Oxford Handbook of Jewishness and Dance. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197519516.001.0001.

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The Oxford Handbook of Jewishness and Dance documents, critically analyzes, and celebrates the significant impact of Jewish dance artists and changing notions of Jewish identity on different communities and the dance field writ large. Responding to recent evolutions in religious and secular contexts, the volume focuses on North America, Europe, and Israel in the twentieth and twenty-first centuries. Building on a significant body of existing research, the Handbook focuses on the sometimes surprising, often hidden, and overlooked Jewish resonances within a range of styles (such as modern and po
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43

Ankoku butō: The premodern and postmodern influences on the dance of utter darkness. East Asia Program, Cornell University, 1988.

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44

Cajun and zydeco dance music in Northern California: Modern pleasures in a postmodern world. University Press of Mississippi, 2008.

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45

DeWitt, Mark F. Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World. University Press of Mississippi, 2008.

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46

DeWitt, Mark F. Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World. University Press of Mississippi, 2010.

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47

DeWitt, Mark F. Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World. Ebsco Publishing, 2008.

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48

Radical bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York, 1955-1972. University of California Press, 2017.

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49

Walters, David Arthur. Reflections in the Well: On Postmodern Dancer Pioneer Deborah Hay and Punkmodern Pooh Kaye. New Name Press, 2002.

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50

Kosstrin, Hannah. No Fists in the Air. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0007.

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The Epilogue glosses political and artistic repercussions for Anna Sokolow during the mid-to-late Cold War era. Negotiating the twilight of the Old Left and the rise of the New Left after the 1962 founding of Students for a Democratic Society, Sokolow was caught between aesthetic changes from revolutionary modernism to Vietnam War–era postmodern impetuses. This was manifested most clearly in the upset surrounding Sokolow’s choreography for the musical Hair (1967). The Epilogue argues that Sokolow’s social–choreographic values continue to be passed down through new generations of dancers as the
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