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Livros sobre o tema "Postmoderne dance"

Autor: Grafiati

Publicado: 31 de agosto de 2024

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1

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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8

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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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. Reston, VA: National Dance Association, 1992.

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11

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

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12

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

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13

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

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14

Zuschreibung und Befremden: Postmoderne Repräsentationskrise und verkörpertes Wissen im balinesischen Tanz. Berlin: 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. Editado por 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 nonvectorial, “spatialized” historiography of dance. It points out that writing an alternative history of dance takes as its starting point the enmeshed model of a network, or a choreographic contemporaneity of the noncontemporaneous. Danced reenactments finally are understood as choreographic juxtapositions, as reflections of moving scenes in relation to each other in time and space, or rather through times and spaces.

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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) e 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. Petaḥ-Tikṿah: Muzeʼon Petaḥ-Tiḳvah le-omanut, 2014.

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24

Brandstetter, Gabriele. Showing Dance. Editado por 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 performative and epistemic presentation of the lecture performance—and questions of gesture and movement, and shows the different formats choreographers have developed for the lecture performance. It also traces the question of media and the intersection of art forms, and shows how audiovisual media are integrated in the process of lecturing/performing.

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25

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

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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. New York, NY: 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 phenomenological notions of agency. According to this account, relations of force underlie action, as well as the many modes of interiority (subjectivity). But these two kinds of formation (of force) are different in kind. They belong to differing types (of force). The pursuit of action, including the utilisation of experience in action, constitutes a certain type of ethos, which Deleuze calls the active type, whereas the formation of experience belongs to ‘the reactive apparatus’, that which reacts but does not act. The active type drives a wedge between the dancing and the dancer. Deleuze’s treatment of Nietzsche can be adapted to account for the variety of dance practices, their production of training and technique, custom and virtuosity. In particular, it is able to account for the specific ways in which postmodern dance displaces the subjectivity of the dancer.

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39

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

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40

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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41

Jackson, Naomi M., Rebecca Pappas e 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 postmodern dance, ballet, folk dance, and flamenco), amplifies marginalized voices (queer, African American, Ethiopian, and Yemenite), and considers the powerful role of dance in addressing difference (as between American and Israeli Jews). In the process, the over thirty chapters also advocate values of social justice, like Tikkun Olam (repair of the world), debate, and humor as the authors explore the fascinating and potentially uncomfortable contradictions and ambiguities that characterize the topic.

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42

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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43

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

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44

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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45

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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46

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

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47

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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48

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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49

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 they learn her repertory in times and places removed from the dances’ premieres, and in doing so the dances kinesthetically inform their dancers of their historical contexts within a new era. Finally, the Epilogue poses questions mediating the politics of dances’ residue.

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50

Chatterjee, Sandra, e Cynthia Ling Lee. “Our Love Was Not Enough”. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0003.

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This essay recounts and analyzes the Post Natyam Collective’s process of creating the contemporary abhinaya work, “rapture/rupture.” Working in a feedback loop between theory and practice, it researched ways to denaturalize Indian classical kathak’s script of idealized femininity to facilitate fluid, diverse possibilities for performing gender and cultural belonging in South Asian aesthetic contexts. “Rapture/rupture” produces a dancing subject whose ethnic mismatch, hybrid movement vocabulary, gender nonconformity, and same-sex love across cultural difference exceed the boundaries of a kathak discourse that calls for purist notions of culture, race, nation, religion, and femininity. In theoretically analyzing how gender, cultural belonging, and desire are conceptualized through abhinaya, postmodern dance, US identity politics, and poststructuralist critiques of identity, it argues that embracing lack—being “not enough”—is a mode of exceeding dominant boundaries that enables a multilayered, intersectional dance-making practice that queers gender, queers cultural belonging, and embodies queer female desire.

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