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Готові списки джерел за темами / Dance body movements / Книги

Книги з теми "Dance body movements"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Dance body movements.

Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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1

M, Watson Elizabeth, ed. Body code: The meaning in movement. Princeton, N.J: Princeton Book Co., 1987.

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2

1954-, Leman Rhea, ed. Body sense. New York: Pantheon Books, 1987.

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3

Ch'um kwa mom: Dance & body. Sŏul T'ŭkpyŏlsi: Ihwa Yŏja Taehakkyo Ch'ulp'anbu, 2010.

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4

Maletic, Vera. Body, space, expression: The development of Rudolf Laban's movement and dance concepts. Berlin: Mouton de Gruyter, 1987.

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5

The body speaks. London: Methuen, 2001.

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6

The body speaks. New York: Palgrave Macmillan, 2002.

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7

Body, space, expression: The development of Rudolf Laban's movement and dance concepts. Berlin: Mouton de Gruyter, 1987.

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8

Juba: Die Welt der Körperpercussion : Techniken, Rhythmen, Spiele. 2nd ed. Boppard/Rhein: Fidula, 2000.

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9

Sibony, Daniel. Le corps et sa danse. Paris: Seuil, 1995.

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10

Gabriele, Brandstetter, Völckers Hortensia, Mau Bruce, and Lepecki André, eds. ReMembering the body : [on the occasion of the exhibition "STRESS" at the MAK, Vienna] / edited by Gabriele Brandstetter and Hortensia Völckers ; with STRESS, an image-essay by Bruce Mau ; with texts by André Lepecki ; [translations, Andrea Scrima, Rainer Emig]. Ostfildern-Ruit: Hatje Cantz, 2000.

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11

Ajayi, Omofolabo S. Yoruba dance: The semiotics of movement and body attitude in a Nigerian culture. Trenton, NJ: Africa World Press, 1998.

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12

Davies, Ann. Body work: Primary children, dance and gymnastics. Cheltenham: Stanley Thornes, 1995.

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13

The body speaks. London: Methuen Drama, 2008.

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14

Miranda, Regina. Corpo-espaço: Aspectos de uma geofilosofia do corpo em movimento. Rio de Janeiro, RJ: 7Letras, 2008.

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15

Miranda, Regina. Corpo-espaço: Aspectos de uma geofilosofia do corpo em movimento. Rio de Janeiro, RJ: 7Letras, 2008.

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16

Toepfer, Karl Eric. Empire of ecstasy: Nudity and movement in German body culture, 1910-1935. Berkeley: University of California Press, 1997.

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17

Vnachale bylo telo: Ritmoplasticheskie ėksperimenty nachala XX veka; khoreologicheskai︠a︡ laboratorii︠a︡ GAKhN. Moskva: Iskusstvo--XXI vek, 2011.

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18

Making connections: Total body integration through Bartenieff fundamentals. Amsterdam: Gordon and Breach Pub., 2000.

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19

Hackney, Peggy. Making connections: Total body integration through Bartenieff fundamentals. Amsterdam: Gordon and Breach Pub., 1998.

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20

Hackney, Peggy. Making connections: Total body integration through Bartenieff fundamentals. Australia: Gordon and Breach Pub., 1998.

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21

M, Farnell Brenda, ed. Human action signs in cultural context: The visible and the invisible in movement and dance. Metuchen, N.J: Scarecrow Press, 1995.

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22

André, Lepecki, ed. Of the presence of the body: Essays on dance and performance theory. Middletown, Conn: Wesleyan University Press, 2004.

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23

Minton, Sandra Cerny. Using movement to teach academics: The mind and body as one entity. Lanham, Md: Rowman & Littlefield Education, 2008.

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24

Tao song and tao dance: Sacred sound, movement, and power from the source for healing, rejuvenation, longevity, and transformation of all life. New York: Atria Books, 2014.

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25

Lepecki, Andre, Jan Assman, Friedrich Kittler, Aleida Assman, Gabriele Brandstetter, and C. Nadia Seremetakis. ReMembering the Body: Body and Movement in the 20th. Hatje Cantz Publishers, 2000.

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26

Bruce, Mau, Völckers Hortensia, and Österreichisches Museum für Angewandte Kunst., eds. ReMembering the body: Andrea Scrima...]. Ostfildern: Hatje Cantz, 2000.

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27

Nachbar, Martin. Tracing Sense/Reading Sensation. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.22.

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Анотація:

Dance archives, like other archives, store documents of past events. They are particular in that the documents they store document dances or choreographies, which are also stored in the memories of the dance artists involved. This chapter examines the relations between documents of dances and bodily movement memories by tracing the processes of two dance pieces that dealt with these issues in very different ways. The first is the author’s reconstruction of Dore Hoyer’s dance cycle Affectos Humanos, for which a dance archive provided film and other documents of this cycle. The second piece is a duet the author made with his father, in which he experienced the reality of movement patterns and habitual postures that get stored in one body and passed on to the next through imitation. The dance archive is a particularly productive place to explore und understand the relations between document, body, and movement.

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28

Meyer, Petra Maria. Sound, Image, Dance, and Space in Intermedial Theatre. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.42.

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Анотація:

The chapter focuses philosophically on theatre as one of the acoustic spaces for staging in which sound design acquires an ever higher status in an advanced technical intermedia interplay. Theatre-dramaturgy is transformed into intermedial dramaturgy. The author notes a fundamental “acoustic turn” in theatre, which locates compositional processes within new audiovisual interplays. “ICH2 Intermedial Dance Performance for Planetaria” (2005–2006)—a cutting-edge hybrid form of theatre using advanced digital technologies—is discussed. The performance combines expressive body movements, 360° interactive motion graphics, and sound. In this way “ICH²” is a unique piece of the emerging genre called digital theatre, in which technology enables alterable and immersive stage settings and a new acoustic space. The author explores Merleau Ponty’s conception of embodiment, Lacan’s conception of the “imaginary turn,” and aesthetic innovations in the domain of scenography, thus reflecting historical, theoretical, aesthetical, and practical aspects.

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29

Geographies Of Dance Body Movement And Corporeal Negotiations. Lexington Books, 2014.

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30

Lamb, Warren, and Elizabeth Watson. Body Code: The Meaning in Movement. Princeton Book Co Pub, 1994.

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31

Art and Science of Dance/Movement Therapy: Life Is Dance. Taylor & Francis Group, 2015.

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32

Chaiklin, Sharon, and Hilda Wengrower. Art and Science of Dance/Movement Therapy: Life Is Dance. Taylor & Francis Group, 2015.

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33

Chaiklin, Sharon, and Hilda Wengrower. Art and Science of Dance/Movement Therapy: Life Is Dance. Taylor & Francis Group, 2015.

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34

Chaiklin, Sharon, and Hilda Wengrower. Art and Science of Dance/Movement Therapy: Life Is Dance. Taylor & Francis Group, 2009.

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35

Chaiklin, Sharon, and Hilda Wengrower. Art and Science of Dance/Movement Therapy: Life Is Dance. Taylor & Francis Group, 2015.

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36

Chaiklin, Sharon, and Hilda Wengrower. Art and Science of Dance/Movement Therapy: Life Is Dance. Taylor & Francis Group, 2015.

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37

Chaiklin, Sharon, and Hilda Wengrower. Art and Science of Dance/Movement Therapy: Life Is Dance. Taylor & Francis Group, 2015.

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38

1934-, Chaiklin Sharon, and Wengrower Hilda, eds. The art and science of dance/movement therapy: Life is dance. New York: Brunner-Routledge, 2009.

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39

Geographies of Dance: Body, Movement, and Corporeal Negotiations. Lexington Books/Fortress Academic, 2015.

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40

Fenster, Tovi, Olaf Kuhlke, Adam Pine, Frances Bronet, and Georgia Connover. Geographies of Dance: Body, Movement, and Corporeal Negotiations. Lexington Books/Fortress Academic, 2013.

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41

Geographies of Dance: Body, Movement, and Corporeal Negotiations. Lexington Books, 2013.

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42

Whitehead, Anna Martine. Expressing Life Through Loss. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0018.

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This chapter examines the relationship between blackness, queer vulnerability, and the mechanics of movement and dance. It uses anecdotes to make an argument for downward movement and concaveness as movement techniques, responses to the physical threats intrinsic to black ontology. It examines the relationship between those movements and shapes in the black body to an emergent style of performance called “queer dance.” This relationship might be identified as a type of “freak technique”—and always already othered practice. The chapter also considers a more familiar relationship to gravity in terms of making interventions into dominant narrative arcs in dance as well as capitalist America. It argues that these interventions are made complete by their pairing with recovery—it is not only the get-down that steals movement away into blackness and potential queerness, but its coupling with the get-back-up.

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43

Hunter, Victoria. Site, Dance and Body: Movement, Materials and Corporeal Engagement. Springer International Publishing AG, 2021.

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44

Hunter, Victoria. Site, Dance and Body: Movement, Materials and Corporeal Engagement. Springer International Publishing AG, 2022.

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45

Haas, Jacqui Greene. Dance Anatomy. 2nd ed. Human Kinetics, 2018. http://dx.doi.org/10.5040/9781718212800.

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Анотація:

Experience the raw energy and aesthetic beauty of dance as you perfect your technique with Dance Anatomy. Featuring hundreds of full-color illustrations, Dance Anatomy presents more than 100 of the most effective dance, movement, and performance exercises, each designed to promote correct alignment, improved placement, proper breathing, and prevention of common injuries. The exercises are drawn in stunning detail, capturing the dancer in motion and highlighting the active muscles associated with each movement so you can develop and strengthen different areas of the body. You will clearly see how muscular development translates into greater poise and elegance on the stage. Each chapter addresses a key principle of movement to help you improve performance, beginning with the center of the body, where dance begins. You will learn exercises to target specific areas, such as shoulders and arms, pelvis, and lower legs to enhance flexibility and ensure safety. You will also discover more efficient ways of improving your lines and technique by implementing a supplementary conditioning program that takes into account your changing cycles of classes, practices, and times of rest. Regardless of your ability level or dance style, Dance Anatomy will help you master the impeccable balance, intense muscular control, and grace to prepare you for your next leading role!

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46

Dunagan, Colleen T. Dance-in-Advertising, Affect, and Contagious Movement. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.003.0002.

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Анотація:

Chapter One introduces the concept of affect and its production through dance in advertising. Affect plays a key role in advertising’s ability to engage consumers in the production of cultural meaning. To this end, I argue that the marketing value of dance lies in the ability of the dancing body to produce affect through kinesthetic empathy and correspondingly to create the appearance of relational meaning and agency. By placing affect theory into dialogue with theories of cognition and kinesthetic empathy, I articulate how and why the moving body in advertising requires its own analysis. In these ads, choreographed movement holds the key to fully understanding the production of affect, affect’s contagion, and its role in the production of social relations and cultural meaning.

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47

Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Анотація:

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the “women’s question” via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.

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48

(Editor), Brian Webb, and Dena Davida (Editor), eds. The Responsive Body: A Language of Contemporary Dance. Banff Centre Press, 2002.

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49

1951-, Webb Brian, ed. The responsive body: A language of contemporary dance. Banff, Alta: Banff Centre Press, 2002.

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50

Fraleigh, Sondra. Why Consciousness Matters. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039409.003.0001.

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Анотація:

This chapter examines consciousness, or more accurately “extending whole body consciousness,” as the core purpose of somatic studies. It first considers the notion of ethereality in dance, noting how contrasting subtle ethereal movement would be solid strongly delineated movement, restrained and earthy; some of these strong qualities are found in the invigorating stamping dances of India and Africa. The chapter goes on to discuss somatics in terms of somatic affectivity and phenomenological awareness, arguing that how self and community are cultivated makes a difference in somatic contexts for performance; the important role of the teacher in transformational dance somatics, insisting that she and her consciousness are a living part of it; dualism from a gender perspective; and the use of phenomenology in terms of its critique of dualist theories of body and mind.

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