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Книги з теми "Dance disciplines"

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Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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1

E, McCombs Maxwell, ed. Research in mass communication: A practical guide. Boston: Bedford/St. Martin's, 2000.

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2

Jordan, Stephanie. Dancing back: Current debates and the discipline. London: Roehampton Institute, 1995.

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3

Schultz, Huxman Susan, ed. The rhetorical act: Thinking, speaking, and writing critically. 3rd ed. Belmont, CA, USA: Thomson/Wadsworth, 2003.

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4

The rhetorical act. 2nd ed. Belmont, Calif: Wadsworth Pub. Co., 1996.

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5

Grau, Andrée, and Georgiana Wierre-Gore. Anthropologie de la danse: Genèse et construction d'une discipline. Pantin: Centre national de la danse, 2005.

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6

1923-, Brockett Oscar Gross, and Ball Robert J, eds. Plays for the theatre: A drama anthology. 9th ed. Boston: Thomson/Wadsworth, 2008.

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7

Cecilia, Nocilli, and Pontremoli Alessandro, eds. La disciplina coreologica in Europa: Problemi e prospettive. Roma: Aracne, 2010.

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8

Follia e disciplina: Lo spettacolo dell'isteria. Milano: Mimesis, 2014.

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9

Kenzie, Robert J. Mac. Setting limits in the classroom: How to move beyond the classroom dance of discipline. Rocklin, CA: Prima Pub., 1996.

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10

Setting limits in the classroom: How to move beyond the dance of discipline in today's classrooms. 2nd ed. Roseville, Calif: Prima Pub., 2003.

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11

Wilkins, Lee. The moral media: How journalists reson about ethics. Mahwah, NJ: Lawrence Erlbaum Associates, 2005.

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12

Renita, Coleman, ed. The moral media: How journalists reason about ethics. Mahwah, N.J: Lawrence Erlbaum Associates, 2005.

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13

1946-, Weaver David H., ed. The American journalist in the 21st century: U.S. news people at the dawn of a new millennium. Mahwah, N.J: L. Erlbaum Associates, 2007.

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14

1988, Berman Robert A., ed. Fade in: The screenwriting process. Westport, CT: M. Wiese Film Productions, 1988.

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15

Berman, Robert A. Fade in: The screenwriting process. 2nd ed. Studio City, CA: M. Wiese Productions, 1997.

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16

Lacey, Colin. The press as public educator: Cultures of understanding, cultures of ignorance. Luton: University of Luton Press, 1997.

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17

David, Longman, ed. The press as public educator: Cultures of understanding, cultures of ignorance. Luton: University of Luton Press, 1997.

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18

The essential theatre. 4th ed. New York: Holt, Rinehart, and Winston, 1988.

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19

J, Ball Robert, ed. The essential theatre. 7th ed. Fort Worth: Harcourt Brace College Pub., 2000.

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20

The essential theatre. 5th ed. Fort Worth: Holt, Rinehart and Winston, 1992.

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21

J, Ball Robert, ed. The essential theatre. 8th ed. Belmont, CA: Thomson/Wadsworth, 2004.

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22

From our own correspondent: A celebration of fifty years of the BBC radio programme. Bath: BBC Large Print, 2006.

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23

Christopher, Curchy, ed. Educator's survival guide for television production and activities. Westport, Conn: Libraries Unlimited, 2003.

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24

Adamson, Rosalind Cara. A study into methods by advisers and primary co-ordinators in order to acquire and disseminate skills and knowledge in music and dance as a combined arts discipline. [Guildford]: [University of Surrey], 1995.

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25

Marshall, Wallack Lawrence, ed. News for a change: An advocate's guide to working with the media. Thousand Oaks, Calif: Sage Publications, 1999.

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26

Ontario. Esquisse de cours 12e année: Danse atc4m cours préuniversitaire. Vanier, Ont: CFORP, 2002.

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27

Ontario. Esquisse de cours 12e année: Histoire de l'Occident et du monde chy4c cours précollégial. Vanier, Ont: CFORP, 2002.

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28

Dunagan, Colleen T. Consuming Dance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.001.0001.

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Анотація:

Consuming Dance examines dance in television and online advertising as both cultural product and cultural meaning-maker. The text interweaves semiotics, choreographic analysis, cultural studies, media studies, and critical theory to place contemporary dance-in-advertising in dialogue with other dance media. Grounding contemporary advertising within media and cultural history, the work both analyzes examples from early television and performs semiotic readings of historical references within later ads. Analysis of individual commercials and campaigns reveals how commercials act as rhizomatic assemblages of cultural history as traditional advertising positioning strategies engage with content, conventions, and discourses from other disciplines and cultural forms. The text explores the power of dance in advertising, examining how it generates affect and spectacle in service of both brand identity and the construction of the commodity-sign. This analysis of dance’s power, in turn, reveals advertising’s intertextuality and its contributions to social identity and the construction of the neoliberal subject. Ultimately, the text highlights advertising’s contradictions, exposing how its appropriation of dance functions as a response simultaneously to marketing needs, shifting ideologies, and growing cultural diversity all while continuing to serve the needs of neoliberal capitalism.

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29

Duffy, Ali. Careers in Dance. Human Kinetics, 2021. http://dx.doi.org/10.5040/9781718212701.

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Анотація:

Never before has a greater variety of careers been available in dance—and never before has such comprehensive, expert guidance on those burgeoning careers been accessible in one book. Careers in Dance is a master guide that will help students navigate the expanding opportunities in dance and familiarize current professionals with potential career choices that best align with their pursuits and strengths. This highly practical text offers a wealth of information on career options in a variety of settings and with a variety of focuses, including commercial ventures, scholarly pursuits, administrative avenues, medical and scientific settings, and interdisciplinary opportunities. Readers are guided in discovering their deepest interests and learning how to translate their unique strengths into rich and fulfilling careers. In keeping with recent trends in higher education dance programs, Careers in Dance spotlights entrepreneurship and leadership opportunities for dancers, delving into an array of options and offering much-needed advice. The book covers some of the social and cultural influences that affect success in the field, and it explores various career opportunities: • K-12 and postsecondary dance education • Dance studios • Performance, choreography, and production • Dance research, analytical writing, and journalism • Dance administration and advocacy • Dance science, therapy, and medical and somatic practices • Private competition companies • Technical theater and related areas The text also helps readers understand the connections between dance and other disciplines. For example, it details the interdisciplinary opportunities involving technology, technical theater, and media. It also notes the possibilities for continued education in graduate school programs and suggests approaches to acclimating to life as a working professional. Careers in Dance offers two recurring elements throughout the book: 1. Profiles of, and interviews with, esteemed professional dancers, revealing their real-world experiences and affording insights into different dance careers 2. Reflection prompts that encourage self-reflection and prepare readers to seek career development and career advancement opportunities This text explores the opportunities dance students and professionals can pursue, helps them pinpoint their areas of interest and strengths, and equips them to create their unique paths to a fulfilling career in dance. In doing so, Careers in Dance provides the advice and strategies dancers need to actualize their own destinies in dance. AUDIENCE Text for undergraduate courses on careers, entrepreneurship, and leadership, and for dance students embarking on careers. Reference for professionals considering career changes in the dance field.

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30

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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Анотація:

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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31

Poindexter, Paula M., and Maxwell E. McCombs. Research in Mass Communication: A Practical Guide. Bedford/St. Martin's, 1999.

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32

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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33

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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34

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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35

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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36

Carpenter, W. Boyd. Dante and Educative Discipline. Kessinger Publishing, 2005.

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37

Writing a Screenplay. Pocket Essentials, 2002.

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38

Costello, John. Writing a Screenplay. Oldcastle Books, Limited, 2010.

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39

Girdwood, Megan. Modernism and the Choreographic Imagination. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481625.001.0001.

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Ranging from the late nineteenth to the mid-twentieth century, this book examines literary and choreographic representations of the figure of Salome, the biblical woman who danced for the head of St John the Baptist. The age of modernism witnessed an extraordinary cross-fertilisation of the arts of literature and dance, grounded in a shared appetite for formal experimentation and inter-related ideas about the representational capacities of the performing body. Following her conspicuous revival in the nineteenth-century French Symbolist movement, Salome became a focal point for these recurring interplays between text and performance, inspiring an unprecedented corpus of plays, fictions, paintings, dance performances, and silent films devoted to her ‘dance of the seven veils’. This book considers how Salome’s dancing body, across its numerous modernist iterations, framed critical questions about inter-arts collaboration, influence, aesthetic autonomy, and the porousness of different disciplines, thereby unsettling more traditional views of aesthetic hierarchies and related assumptions about female creative agency. Following salient versions of Salome from fin-de-siècle music halls and avant-garde theatres to the projects of the Ballets Russes, female film pioneers, and modernist playwrights, this book considers canonical authors such as Oscar Wilde, W. B. Yeats, and Samuel Beckett, as well as lesser-known but crucially influential performers, from the modern dancers Loïe Fuller and Maud Allan, to Ida Rubinstein, Alla Nazimova, and Ninette de Valois.

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40

Harris, Andrea. Modernism and American Ballet. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0002.

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This chapter explores the international and interdisciplinary backdrop of Lincoln Kirstein’s efforts to form an American ballet in the early 1930s. The political, economic, and cultural conditions of the Depression reinvigorated the search for an “American” culture. In this context, new openings for a modernist theory of ballet were created as intellectuals and artists from a wide range of disciplines endeavored to define the role of the arts in protecting against the dangerous effects of mass culture. Chapter 1 sheds new light on well-known critical debates in dance history between Kirstein and John Martin over whether ballet, with its European roots, could truly become “American” in contrast to modern dance. Was American dance going to be conceived in nationalist or transnationalist terms? That was the deeper conflict that underlay the ballet vs. modern dance debates of the early 1930s.

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41

Huxman, Suszn Schultz, and Karlyn Kohrs Campbell. The Rhetorical Act: Thinking, Speaking, and Writing Critically (with InfoTrac®) (Wadsworth Series in Speech Communication). 3rd ed. Wadsworth Publishing, 2002.

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42

Rhetorical Act: Thinking, Speaking, and Writing Critically. Wadsworth, 2013.

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43

Schupp, Karen. Studying Dance. Human Kinetics, 2015. http://dx.doi.org/10.5040/9781718212817.

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Анотація:

Studying Dance: A Guide for Campus and Beyond is a comprehensive bridge for students transitioning into the first year of a college dance program. Through this text, students will understand dance in new and exciting ways, embrace it as an academic discipline, navigate and take charge of their dance education, and visualize potential careers after graduation. Studying Dance: A Guide for Campus and Beyond opens students’ eyes to all the artistic, cultural, and educational aspects of dance. By expanding their thinking, students will move to a deeper understanding of themselves as dancers and the world around them. The author demystifies the entire first-year experience while guiding students in the discovery of dance as a multifaceted discipline. Students will examine academic expectations, time management, the importance of staying focused, and balancing school and life. They will delve into the various areas of dance and a range of careers and paths available to them. They will learn the differences in types of college dance courses, the approaches used, and how to personalize their dance education through individualized instructional opportunities and peer collaboration. The text also will prompt students to visualize and plan their dance lives beyond campus so they can set clear goals for studying and succeeding as young professionals.

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44

Gotman, Kélina. Choreomania. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.001.0001.

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This book traces the emergence and spread of the choreomania concept through colonial medical and ethnographic circles, showing how fantasies of instability—and of the Oriental other—haunted scientific modernity. Scenes from the archives of medical history, neurology, psychiatry, sociology, religion, and popular journalism show how the discursive history of the ‘dancing mania’ moved and transformed with its translations throughout the colonial world. From antiquarian references to ancient Greek bacchanals and medieval St. Vitus’s dances, to scientific reperformances of early modern religious ecstasies, and American government anthropology, ‘choreomania’ arose to signal every sort of gestural and choreographic unrest. Village kermesses, revolutionary crowds, and neuromotor disorders—including hysteria, epilepsy, and chorea—were among the many unruly forms of locomotion indiscriminately compared to bacchanalian turmoil. So too, charges of spontaneous political agitation levied against demonstrators from Africa and South America to the South Seas reveal heightened anxieties about the spread of social disorder. Initially employed to describe ‘contagious’ popular dances, jerking movements, and convulsions, with decolonization, the ‘dancing disease’ increasingly described the fitful drama of anti-European revolt. Closely indebted to the work of Michel Foucault, this book opens a new chapter on the way we think epidemic madness and the organization and disorganization of bodies and disciplines in the modern age. Setting ideas about disruptively moving bodies at the heart of the scientific enterprise, this book argues that disciplines themselves were at once more porous and mobile than is commonly allowed, and that ‘dance’ itself has to be radically reimagined across fields.

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45

Sunardi, Christina. Aims and Approaches. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0001.

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Анотація:

This chapter introduces the main aims and analytical approaches underpinning this book's research. It draws theoretical and methodological approaches from ethnomusicology, anthropology, gender studies, dance studies, Southeast Asian studies, and other disciplines—combining interpretive ethnography, textual analysis, and analysis of performance—in order to present a brief overview of each major theme tackled in this work: power, gender and sex, tradition, and Islam. All of these are analyzed in the context of east Javanese presentational dance and music in order to examine the perseverance of “female power” in the face of a variety of cultural pressures that work to contain, control, and suppress it.

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46

Elswit, Kate. The Micropolitics of Exchange. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.18.

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Exile has received relatively little attention in dance studies, although forced migration in the mid-twentieth century reconfigured artistic and intellectual landscapes on multiple continents. This chapter turns to German dance during and after the Third Reich, while drawing on theoretical and historical treatments of exile developed in other disciplines, as well as constructions of national identity. Such perspectives on displacement suggest that it is not the place of exiled artists, which needs to be reassessed within national dance histories; rather, these artists offer an opportunity to assess the contours of the historical narrations themselves and, with them, other forms of belonging. The case studies of Valeska Gert and Kurt Jooss highlight the micropolitics of exile’s transnational exchange. These intricate, personalized crosscurrents were catalyzed by survival strategies that registered in the work itself and left traces in history, which can only be seen by engaging with multiple forms of otherness.

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47

Ball, Robert J., and Oscar Gross Brockett. Plays for the Theatre (Wadsworth Series in Theatre). 9th ed. Wadsworth Publishing, 2007.

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48

Goldstein, Norm. Associated Press Stylebook. Associated Pr, 2002.

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49

Offering from the Conscious Body: The Discipline of Authentic Movement. Inner Traditions, 2002.

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50

Rosenberg, Douglas, ed. The Oxford Handbook of Screendance Studies. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199981601.001.0001.

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Анотація:

The Oxford Handbook of Screendance Studies is the first publication to offer a scholarly overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema, and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each essay discusses and reframes current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed include politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; dance and interactive and digital technology; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines, such as kinesthetic explorations. The Oxford Handbook of Screendance Studies features newly commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and videomakers, choreographers and dancers, screendance and videodance artists, academics and writers, producers, composers, as well as the wider public. It will become an invaluable resource for researchers and professionals in the field and is intended as the first classroom text for screendance courses.

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