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Gotowe bibliografie tematyczne / Collage (Choreographic work : Cunningham)

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Gotowa bibliografia na temat „Collage (Choreographic work : Cunningham)”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 19 lipca 2025

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Artykuły w czasopismach na temat "Collage (Choreographic work : Cunningham)"

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Bihus, Olha. "The Phenomenon of Richard Alston's Modern Choreography." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 115–20. https://doi.org/10.31866/2410-1176.49.2023.293295.

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<strong>The aim of the article</strong> is to reveal peculiarities of the author’s style of Richard Alston’s modern dance, and to find out his contribution to the development of modern choreography. <strong>Results.</strong> Based on the analysis carried out, it is proved that there is an increasing interest in the choreographer’s creative activity, which represents the transformation of the British dance artistic aesthetics since the sixties of the 20th century. The choreographer’s favorite motifs are found to highlight two incredibly eloquent characteristics

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Aukhadiyev, Ilzat, Daulet Dosbatyrov, and Heili Einasto. "Modern creative methods of ballet staging and their reflection in the Kazakh ballet Zhusan." Creativity Studies 18, no. 1 (2025): 208–22. https://doi.org/10.3846/cs.2025.20429.

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The manuscript explores the evolution of ballet staging, focusing on the integration of modern dance and classical ballet. It traces this trend to the second half of the 20th century, highlighting the impact of modern dance’s flexibility on classical ballet’s rigidity, leading to a postmodern era in ballet theater. The study acknowledges significant Western European, American, and Russian researchers in ballet. It discusses how the fusion of classical ballet and modern dance has enriched choreography and led to innovative staging techniques. The manuscript examines the transformation in the de

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Copeland, Roger. "Merce Cunningham and the Aesthetic of Collage." TDR/The Drama Review 46, no. 1 (2002): 11–28. http://dx.doi.org/10.1162/105420402753555822.

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Collage has been central to Cunningham's work from the very beginning in the 1950s. Unlike Wagner's Gesamtkunstwerk, which exemplifies a hunger for wholeness, collage appeals to an age that has come to distrust claims of closure, “unity,” and fixed boundaries.

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Abbiazova, Bohdana. "Choreographic Aleatory in the Works of the Innovators M. Cunningham and J. Cage." Bulletin of KNUKiM. Series in Arts, no. 36 (June 10, 2017): 58–65. https://doi.org/10.31866/2410-1176.36.2017.157678.

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Today there is no holistic idea of contemporary art, including contemporary choreographic art, which is why it is impossible to investigate modern processes in this field. The purpose of the article is to study the latest phenomenon in modern choreography, J.Cage’s  method – aleatory, whose understanding is a necessary component for the improvement of modern artistic processes; to define choreographic aleatory as one of the peculiar methods of modern choreography; to explore the use of J. Cage’s choreographic aleatory in M. Cunningham’s productions. The methodology

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Noland, Carrie. "The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression." Dance Research Journal 42, no. 1 (2010): 47–60. http://dx.doi.org/10.1017/s0149767700000826.

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Where is expression in Cunningham's choreography? Are the moving bodies on stage expressive? If so, what are they expressing and how does such expression occur? Several of the finest theorists of dance—among them, Susan Leigh Foster, Mark Franko, and Dee Reynolds—have already approached the question of expressivity in the work of Merce Cunningham. Acknowledging the formalism and astringency of his choreography, they nonetheless insist that expression does indeed take place. Foster locates expression in the “affective significance” as opposed to the “emotional experience” of movement (1986, 38)

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Polyakova, Anna S. "The Conditions of Existence and Technological Basis of Post-folk Dance." Bulletin of Liberal Arts University 12, no. 3 (2024): 159–66. https://doi.org/10.35853/vestnik.gu.2024.12-3.13.

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The contemporary choreographic culture of the Russian Federation is witnessing the emergence of a neo-traditionalist movement, with post-folk dance constituting a particularly notable phenomenon. Post-folk dance represents a notable trend in the evolution of choreographic culture during the latter half of the 20th century and the early decades of the 21st century. It is characterized by a conscious integration of elements from folk choreography into a variety of aspects including movement vocabulary, compositional techniques, and the conceptual framework of the work. In a single piece, these e

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Stanger, Arabella. "The Choreography of Space: Towards a Socio-Aesthetics of Dance." New Theatre Quarterly 30, no. 1 (2014): 72–90. http://dx.doi.org/10.1017/s0266464x14000098.

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With its emphasis on the socially constructed and mobile nature of ‘space’, Henri Lefebvre's theory of spatial production presents rich possibilities for a sociocultural analysis of choreography. In this article Arabella Stanger uses an examination of social space and spatial aesthetics as a basis upon which to develop a socio-aesthetics of dance – an approach in which the societal contexts and the aesthetic forms of choreography are understood to be fundamentally interrelated. Borrowing from Lefebvre's The Production of Space (1974) and Maria Shevtsova's sociology of the theatre and performan

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Revely-Calder, Cal. "Choreographed Footfalls." Journal of Beckett Studies 27, no. 1 (2018): 54–68. http://dx.doi.org/10.3366/jobs.2018.0220.

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In Samuel Beckett's play Footfalls, a woman called ‘May’ walks back and forth. In this essay, I suggest that the play's physical plainness may be its most difficult aspect: Footfalls is a prime example of how Beckett's later plays are more like enigmas than riddles, frustrating us without an eventual solution. As we try to describe and interpret May's motions, we're continually repelled, and denied the critical certainty we might want. But that desire may be the wrong one to have; instead, I would venture that the play's careful choreography is both the thing that's expressive, and the thing b

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Syrbu, Heorhii. "Music and Choreographic Experiments in John Cage and Merce Cunningham’s Projects as an Experience of Reconception of Modern Tradition." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (December 20, 2023). http://dx.doi.org/10.32461/2226-3209.4.2023.293730.

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The purpose of the article is to determine the influence of the “philosophy of the random” on the formation of unique creative methods of the tandem, which ran counter to the aesthetic views of modern choreography; to investigate the key aspects of the interaction of principles, mechanisms of dramaturgy, expressive means of music and choreographic art within the framework of an artistic synthetic phenomenon. The research methodology includes historical and analytical methods, methods of comparative and cultural analysis. The scientific novelty consists in the analysis of the transformation of

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Gregg, Melissa. "Affect." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2437.

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   It seems not insignificant that the cult film Donnie Darko is set in the final stages of the Bush-Dukakis election campaign, which had the twin effects of inaugurating the Bush presidential dynasty and making “liberal” an insurmountably derogatory term in American politics. Donnie’s gift of seeing into the future is, at least superficially, a reaction to his medication for “emotional problems”. But the count-down to his apocalyptic date with a giant bunny-rabbit also coincides with the demise of any remaining hope for a certain kind of progressive Left politics. With the o

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Książki na temat "Collage (Choreographic work : Cunningham)"

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Fondation Francis et Mica Salabert, ed. Pierre Schaeffer et Pierre Henry: Symphonie pour un homme seul. Éditions Contrechamps, 2021.

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Streszczenia konferencji na temat "Collage (Choreographic work : Cunningham)"

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Shulman, Ami, and Jorge Soto-Andrade. "A random walk in stochastic dance." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.71.

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Stochastic music, developed last century by Xenakis, has older avatars, like Mozart, who showed how to compose minuets by tossing dice, in a similar way that contemporary choreographer Cunningham took apart the structural elements of what was considered to be a cohesive choreographic work (including movement, sound, light, set and costume) and reconstructed them in random ways. We intend to explore an enactive and experiential analogue of stochastic music, in the realm of dance, where the poetry of a choreographic spatial/floor pattern is elicited by a mathematical stochastic process, to wit a

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