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Bibliografias temáticas / Postmoderne dance

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Literatura científica selecionada sobre o tema "Postmoderne dance"

Autor: Grafiati

Publicado: 31 de agosto de 2024

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Artigos de revistas sobre o assunto "Postmoderne dance"

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Osumare, Halifu. "Choreographing Social Change: Reflections on Dancing in Blackness". Dance Research Journal 53, n.º 2 (agosto de 2021): 130–42. http://dx.doi.org/10.1017/s0149767721000218.

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AbstractThis autoethnography explores a dance scholar's previous choreographic trajectory, positioning the author's career within the sixties and seventies Black Arts Movement for social change. I explore several iterations of my dance lecture-demonstration in particular, which was produced over two decades and three continents, demonstrating how temporal and spatial shifts affect the content and context of a choreographic work. Additionally, I explore my shift into arts producing through my national dance initiative that helped define the work of eighties Black choreographers in the postmodern dance movement. The result is a consideration of how being Black, female, and a dancer provides a particular sociohistorical lens.

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Njaradi, Dunja. "Rethinking participation through dance: A historical-theoretical intersection". Bulletin de l'Institut etnographique 70, n.º 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.

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The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the tango pair dance, the flash mob dance-gathering form as well as the contact improvisation developed within postmodern dance. Of the theoretical and philosophical settings that underpin discussions of community in dance studies, the paper will discuss the concept of kinesthesia or ?kinesthetic empathy?, ?mirror neurons? in neuroscience as well as philosophical reflections on affect.

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von Rosen, Astrid. "Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans". Nordic Journal of Dance 11, n.º 1 (1 de junho de 2020): 4–15. http://dx.doi.org/10.2478/njd-2020-0002.

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AbstractThe article combines Critical Archival Studies theory about agency and activism with an empirical exploration of dance history in Gothenburg, Sweden’s second city. It focuses on Anna Wikström’s Academy for Dance (1930-1965), an education which has not been explored in previous research. A previous member of The Swedish Ballet, Wikström offered her students courses in artistic dance, dance as physical exercise, pedagogy, and social dancing. Thereby, her broad education differed from the narrow, elitist Ballet School at The Stora Teatern. The article accounts for how the collaboration between choreographer and dancer Gun Lund and Astrid von Rosen, scholar at the University of Gothenburg, contributes new knowledge about the local dance culture. It is argued that archival and activist approaches make it possible for more voices, bodies, and functions to take place in dance history. As such, the exploration complements previous postmodern dance historiography (see for example Hammergren 2002; Morris och Nicholas 2017) with a Gothenburg example.

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Alderson, Evan. "Dance and Postmodern Communities". Contemporary Theatre Review 6, n.º 4 (outubro de 1997): 63–74. http://dx.doi.org/10.1080/10486809708568436.

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Stanich, Veronica Dittman. "Turning the World Upside Down". Dance Research 36, n.º 2 (novembro de 2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.

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A particular movement – inverting the body to a tail-over-head orientation and fleetingly taking weight on the hands – has been a staple of postmodern dance training and choreography since the early 1990s, yet it remains unnamed and uncodified. Taking a material culture studies approach, I examine this movement closely, using interviews, observation, historical analysis, and a survey of dance practitioners to situate this not-exactly-a-handstand within the field of American postmodern dance. These multiple perspectives yield new insights into the field, its practitioners, and its relationship to the larger cultural picture. I find embodied in this transitional, upside-down movement not only postmodern dance's countercultural and eclectic inheritance but also the conflicted cultural space it occupies. Postmodern dance is old enough to have a tradition, but doesn't want to relinquish its maverick identity; meanwhile, its meaning-making codes are inaccessible to much of the general public even as it begs a bigger audience in order to thrive.

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Giersdorf, Jens Richard. "Trio ACanonical". Dance Research Journal 41, n.º 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.

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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famousNO Manifesto, Trio Aappears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern danceBeyond the Mainstream—containingTrio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au'sBallet and Modern Dance, a conservative historical text utilized in many dance history classes, definesTrio Aas “one of the most influential works in the modern dance repertoire” (Au 2002, 155).

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UCHIYAMA, Sumiko. "Semantics of dance for postmodern". Journal of the Philosophy of Sport and Physical Education 21, n.º 2 (1999): 1–9. http://dx.doi.org/10.9772/jpspe1979.21.2_1.

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Rosenthal, Sarah. "Postmodern Dance: A Feminist Lineage". American Book Review 40, n.º 4 (2019): 4–5. http://dx.doi.org/10.1353/abr.2019.0049.

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Banes, Sally, e Noël Carroll. "Cunningham, Balanchine, and Postmodern Dance". Dance Chronicle 29, n.º 1 (julho de 2006): 49–68. http://dx.doi.org/10.1080/01472520500538057.

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Kasyanova, Olena. "Architectonics of the "Dance of The Seven Veils "From Richard Strauss's Opera "Salome" Through the Prism of Historical Reconstruction". Часопис Національної музичної академії України ім.П.І.Чайковського, n.º 3-4(52-53) (14 de dezembro de 2021): 160–80. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251819.

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The phenomenon of the popularity of R. Strauss's opera "Salome" is explained through the prism of a new paradigm of performing arts, which is due to the rethinking of works of the modern era in the context of postmodern aesthetics. A comprehensive intersectional integrated analysis of musicological, iconographic, culturological, theological, social, psychological and physiological components of the work has been carried out. The methodology of key aspects of the research is determined: features of musical drama — genre-stylistic; content of ancient entertainments —historical and stylistic reconstruction; creation of psychological portraits of characters — system analysis; the concept of dance in opera is an interpretive method. The libretto of the opera is compared with O. Wilde's drama highlighting differences in the image of the main character: in the drama — two "Salome lines", in the libretto — three with the addition of "Dance of the Seven Veils" as an important scene in the conflict, personifying the story of the tragic love of a young princess. The peculiarities of the musical drama of the dance scene in the opera are studied, two opposing points of view on its role and place in the score of the work, the thoughts of the composer R. Strauss on this subject are outlined. The nature of dance entertainment at the courts of ancient rulers, the specifics of the performance of dances "Almeh" and "Ghawazi", which could serve as a prototype of the "Dance of the Seven Veils" performed by princess Salome is described in the article. The stylistics of the "Almeh" dances included a demonstration of highly artistic eroticism, and the "Ghawazi" dances a Bacchic seduction. In the dance scene, it is possible to combine these opposite patterns in the context to solve the musical drama of the work. The psychological and physiological features of Salome's age are analyzed, her characteristic features are explained, which could elucidate the logic of the young princess's actions. Psychological portraits of Salome, Jochanaan, Herodes and Herodias have been made, which directly or indirectly influence the specifics of the interpretation of the dance scene. The key aspects of the architectonics of the specified scene, the content of its parts, the correspondence of the nature of the dance performance to their content are determined, which determines the scientific novelty of the research. The results of the research are compared with modern incarnations of the dance scene in the opera, their partial correspondence is revealed in four out of five parts of dance drama, except for the development of the action. In the latter, there is a loss of tempo due to the mismatch between the gradual growth and decline of the musical drama of the dance scene with its choreographic embodiment. The necessity of using the concept of different branches of knowledge to establish a holistic picture of events in this scene is proved. Prospects for research of the chosen issues through the prism of the latest achievements in the field of musical theater, the attraction of modern interpretations to neo-syncretism are predicted.

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Mais fontes

Teses / dissertações sobre o assunto "Postmoderne dance"

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Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /". Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.

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Stanich, Veronica Dittman. "Poetics and Perception: Making Sense of Postmodern Dance". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1402089308.

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3

Forster, Lou. "Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.

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Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentation que Childs met en œuvre seule, avec sa compagnie, ou des compagnies de répertoire, l’écriture et la lecture jouent un rôle déterminant pour concevoir et incorporer ses danses. Grâce à une enquête anthropologique au cœur des studios de danse, Lou Forster montre que le geste technique consistant à danser page à la main se construit à l’intersection de deux histoires parallèles. Au cours des années 1950, John Cage et Merce Cunningham inventent un ensemble de pratiques de lecture et d’écriture afin de s’opposer, détourner et reconfigurer des approches académiques dans lesquelles l’écrit constitue un support pour assoir des partages disciplinaires et des hiérarchies. Cette approche néo-avant-gardiste joue un rôle primordial au Judson ; et parmi les membres de ce groupe, Childs est l’une des chorégraphes qui se montrent la plus attentive à ces pratiques lettrées car elles rejoignent un aspect méconnu de sa formation de danseuse. En effet, elle étudie la danse moderne de 1955 à 1962 au sein de l’important réseau de la diaspora allemande de New York. Elle suit en particulier la formation dispensée dans l’école de la chorégraphe Hanya Holm (1893-1992) où est enseignée une forme américanisée de danse d’expression (Ausdruckstanz). Childs y découvre la cinétographie Laban ou Labanotation, le système d’analyse et d’écriture du mouvement développé par le chorégraphe austro-hongrois Rudolf Laban (1879-1958), dans lequel les danseurs et danseuses répètent page à la main. C’est vers cet événement de lecture atypique pour le monde de la danse que Childs se tourne quinze ans plus tard pour travailler avec sa compagnie. L’histoire de l’art et l’histoire de la danse ont dissocié ces deux versants des modernités chorégraphiques lorsqu’à partir de 1933 une partie de la danse d’expression se compromet avec le régime nazi. Aux États-Unis se construit alors le mythe d’une originalité de la danse moderne américaine, qui s’accentue encore dans le cadre de la guerre froide. La position privilégiée que Childs occupe dans cette histoire connectée la conduit à faire des pratiques graphiques une matrice du postmodernisme. À partir de 1973, elle aborde l’ensemble des techniques canoniques de la danse occidentale, passant au fil des années de la danse d’expression aux activités piétonnières, au ballet néoclassique puis baroque. Se positionnant comme une appropriationiste, elle développe une perspective historique et critique sur ces techniques d’emprunt. Dans ses pièces, elle tend ainsi à rassembler des genres et des histoires de la danse qui ont été séparées et disjointes, élaborant une véritable poétique de la relation
Lucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation

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Griffiths, Carolyn Margaret. "Tracing image and bodily displacement in modern and postmodern dance". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1362.

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Through time the dancer has been both celebrated and disadvantaged by antithetical ideas: the division of soul and body, form and matter, life and death, artist and audience. For the romantics, the dancing body stood in a relationship to poetic thought in much the same way as the dancer stood to the body. Notions of the body in early modernism arose from cultural and political constructs through which poets and writers examined the nature of truth. These poets, Yeats in particular, hinted at a premise that a whole history of culture may be necessary to explain why women and art may not be considered as 'thinking bodies'. The notion of truth and of the female dancing form became bound up in the idea of the symbol of art, beauty and truth. Contemporary dance forms have evolved in various movements which either celebrated and lauded or rejected and satirised the dancer and the dancing image. Either way, the cultural and political movements of the twentieth century have bequeathed a residue of impressions surrounding bodily image. The current processes employed in today's dance practice, all of which contour the scope and diversity of contemporary dance, are couched in the multifaceted presence of postmodernism. Alongside such constructs is the fact that the twentieth century has been centred in the desire to 'create an image' and a subsequent preoccupation whole bodily image. But there are also many other channels through which the idea and use of image in postmodern dance are expressed. For instance, postmodern artists orchestrate and play with the idea of image to deconstruct forms, to lay bare the object of the dance process and in so doing, they disrupt, fragment and question established precepts and perceptions of culture. Postmodern theorists and artists also examine the literary, cultural and philosophical phenomena of politics, technology, identity and change. An examination of postmodern treatment of imagery can illuminate some of the particular processes by which choreographers explore ideas and incorporate them into their work. Postmodern dance can produce positive images for women and illuminate the conditions of men and women in defiance of the dominant constructions of gender and the hegemonic views of existence working in our culture. Gendered constructions in modernist dance forms have effected the evolution of body image whilst postmodern dance offers a complexity that 'deconstructs' these images.

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Mathews, Rachel A. "Postmodern Theory and the Choreography of Michael Clark". Thesis, University of Surrey, 1992. https://eprints.qut.edu.au/74785/6/Postmodern%20Theory%20and%20the%20Choreography%20of%20Michael%20Clark_Mathews_1992.pdf.

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This study addresses two interrelated questions: Can postmodern ‘theory’ illuminate an understanding of Michael Clark’s work? and, a sub-question, In which ways, if at all, does Clark’s work demonstrate a postmodern sensibility? Chapter one, the introduction to this study, provides a ‘portrait’ of postmodernism, that is, it addresses the question What is postmodernism? Chapter two is a biography of Michael Clark. The seminal sections to this study, however, are chapters three and four. Here the author blends a discussion of a) subject matter, treatment and meanings in Clark’s choreography, b) journalistic criticisms of those features of his work, and c) postmodern theory. The outcome of these chapters is to demonstrate that Clark’s works do indeed require re-interpretation and re-evaluation, and to illustrate how these factors might be achieved.

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Monten, Joshua Lee. ""Something old, something new, something borrowed...": eclecticism in postmodern dance". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407405704.

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Sears, Linda Roseanne. "Resistant corporealities contemporary British dance-theater /". For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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Postle, Julia. "Dancing through the postmodern : Australian choreography in relation to postmodernism". Thesis, Queensland University of Technology, 1996.

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Peter, Frank-Manuel. "Zwischen Ausdruckstanz und Postmodern Dance Dore Hoyers Beitrag zur Weiterentwicklung des modernen Tanzes in den 1930er Jahren /". [S.l. : s.n.], 2003. http://www.diss.fu-berlin.de/2004/245/index.html.

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Campbell, Daly Janis. "A perplexing pilgrimage : the spectator as Mitreisender in the Tanztheater of Pina Bausch". Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/a-perplexing-pilgrimage(220e92fb-9910-4017-8174-e85ab543ae95).html.

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Mais fontes

Livros sobre o assunto "Postmoderne dance"

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Midol, Nancy. La démiurgie dans les sports et la danse: Consciences traditionnelle, moderne et postmoderne. Paris: 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. Wilhelmshaven: Florian Noetzel Verlag, 2020.

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3

Louis, Murray. Murray Louis on dance. Chicago, IL: A Cappella Books, 1992.

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4

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

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5

Louis, Murray. Murray Louis ondance. Chicago, IL: A Cappella Books, 1992.

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6

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

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7

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

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Rowell, Bonnie. An investigation into critical analysis of postmodern dances. London: 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. Paris: Editions du Demi-Cercle, 1990.

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

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Mais fontes

Capítulos de livros sobre o assunto "Postmoderne dance"

1

Banes, Sally. "2.4 Postmodern Dance". In Comparative History of Literatures in European Languages, 151. Amsterdam: John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/chlel.xi.15ban.

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2

Mattingly, Kate. "Modern and Postmodern Dance". In Milestones in Dance History, 108–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003185918-5.

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Adair, Christy. "We say no — postmodern dance". In Women And Dance, 139–59. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22374-9_8.

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Dodds, Sherril. "Postmodern Dance Strategies on Television". In Dance on Screen, 95–125. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230509580_4.

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Burt, Ramsay. "Masculinity, Dance, and the Postmodern". In The Male Dancer, 133–54. 3^a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003159926-7.

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Cruz, Décio Torres. "Revisiting the Biblical Tradition: Dante, Blake and Milton in Blade Runner". In Postmodern Metanarratives, 60–75. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137439734_5.

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Kaye, Nick. "The Collapse of Hierarchies and a Postmodern Dance". In Postmodernism and Performance, 90–117. London: Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-23334-2_6.

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Stewart, Nigel. "A Theological Turn? French Postmodern Dance and Herman Diephuis’s D’Après J.-C." In Contemporary French Theatre and Performance, 200–212. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305663_16.

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Pakes, Anna. "Postmodern Works". In Choreography Invisible, 93–116. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.003.0005.

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Chapter 4 explores the continuing operation of the work-concept in postmodern and contemporary dance, as well as a range of ways in which that concept has been challenged. The institutionalisation of choreographic authorship within modern dance is contrasted with critiques of authorship developed through American postmodern and subsequently European conceptual dance, both of which place renewed emphasis on the creative role of the dancer. The chapter also highlights the range of subject matter tackled by Western theatre dance since the mid-twentieth century and the polysemic character of many contemporary dances. It explores how increasing interest in documentation, preservation, and authentic performance are counterbalanced by practices of reinvention and alternative scoring. The chapter argues that, despite explicit challenges to the dance work-concept, it still underpins dance-making and dissemination.

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Mattingly, Kate. "Who Is a Critic?" In Shaping Dance Canons, 55–88. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9780813069630.003.0003.

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Chapter 2 turns to the role of the artist-critic, analyzing how Yvonne Rainer redesigned the apparatus of dance criticism and used her publications in the 1960s and 1970s to justify a different set of aesthetic criteria. At the same time, these criteria protected the perpetuation of whiteness as an aesthetic value that Martin established in the New York Times and solidified a lineage of postmodern dance that continues to be reproduced in textbooks and taught in history courses. This chapter places the “innovations” of white Judson artists alongside an analysis of postmodernism by Cornel West and research by Brenda Dixon Gottschild, and asks why performances by Black artists such as James Brown and Cholly Atkins are often ignored in discussions of postmodern dance.

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