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1
Osumare, Halifu. "Choreographing Social Change: Reflections on Dancing in Blackness." Dance Research Journal 53, no. 2 (August 2021): 130–42. http://dx.doi.org/10.1017/s0149767721000218.
Повний текст джерелаАнотація:
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, no. 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.
Повний текст джерелаАнотація:
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.
3
von Rosen, Astrid. "Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans." Nordic Journal of Dance 11, no. 1 (June 1, 2020): 4–15. http://dx.doi.org/10.2478/njd-2020-0002.
Повний текст джерелаАнотація:
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.
4
Alderson, Evan. "Dance and Postmodern Communities." Contemporary Theatre Review 6, no. 4 (October 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, no. 2 (November 2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.
Повний текст джерелаАнотація:
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.
6
Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.
Повний текст джерелаАнотація:
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).
7
UCHIYAMA, Sumiko. "Semantics of dance for postmodern." Journal of the Philosophy of Sport and Physical Education 21, no. 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, no. 4 (2019): 4–5. http://dx.doi.org/10.1353/abr.2019.0049.
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Banes, Sally, and Noël Carroll. "Cunningham, Balanchine, and Postmodern Dance." Dance Chronicle 29, no. 1 (July 2006): 49–68. http://dx.doi.org/10.1080/01472520500538057.
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10
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, no. 3-4(52-53) (December 14, 2021): 160–80. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251819.
Повний текст джерелаАнотація:
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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Volbea, Beatrice. "Contemporary Dance Between Modern and Postmodern." Theatrical Colloquia 8, no. 1 (May 1, 2018): 307–15. http://dx.doi.org/10.2478/tco-2018-0011.
Повний текст джерелаАнотація:
Abstract As human beings and artists, what we produce, as well as our own selves, are visibly influenced by a complex ensemble of processes that take place around us and, in time, we can actually be regarded as their result. This evolutionary principle also applies to the role that body expression has in the wide specter of arts, including in dramatic dance and dramatic theatre. All along the XXth century and up until the first decade of the XXIst century, new performative genres have developed, for example, under the influence of political, social and cultural theories and philosophies. The result was the evolution of numerous alternative forms, supported by revolutionary theories in the dramatic field and by new approaches towards performance. Among these, we can find concepts like physical theatre, total theatre and dance theatre, all of them focusing on body expression. A notable aspect of these changes is the fact that they share the recurrent idea of a fusion between different artistic forms, incorporating dance, dramatic play and other theatrical elements in the creative processes and their outputs.
12
Callens, Johan. "The Double Recursiveness of Postmodern Dance." PAJ: A Journal of Performance and Art 30, no. 3 (September 2008): 70–80. http://dx.doi.org/10.1162/pajj.2008.30.3.70.
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МОВА, Людмила. "Contemporary dance as a component of students’ physical education." EUROPEAN HUMANITIES STUDIES: State and Society 3, no. I (September 27, 2019): 16–29. http://dx.doi.org/10.38014/ehs-ss.2019.3-i.02.
Повний текст джерелаАнотація:
Today in the modern world the basic human need for the development of one's own body and keeping it healthy and fit is a topical issue. Health is one of the most important prerequisites for harmonious, full-fledged life and personal self-realization. And it is precisely physical education that is aimed at the formation of a healthy, physically complete personality and the functional improvement of the organism. Dance is an integral part of a human plastic culture. The danceplastic culture education begins with the knowledge and development of the musculoskeletal system of a dancer. First and foremost, students need to learn how to perform basic dance exercises and movements efficiently, anatomically competently and consciously. In our understanding, the contemporary dance technique (post-postmodern) is the technique based on the natural laws of the body functioning with regard to the organization of movement and breathing. Muscles’ release from excessive tension and the activation of the faction level in movement organization, the natural anatomical work of joints and their strengthening, the structure of the body interrelations - all of the abovementioned should precede the technical dance mastery as a high-quality physical training of a student for further mastering of professional disciplines. That is why, in our opinion, a modern student-dancer should be knowledgeable about the body by the following parameters: how human movement is organized, structural peculiarities of the skeletal mobile zones (joints), the understanding what makes the body move in space, what is the center of the body gravity, how the movement of a person from the lower tier to the upper tier in space is organized, what is primary for understanding and training your body and why breathing is acknowledged as the number one item in teaching contemporary dance, what are fasciae and why the experienced dancers-teachers talk so much about them during their classes, how the floor plays the role of a partner and allows you to feel the zones with excessive tension in your body during movement, what BF (Bartenieff Fundamentals) and LMA (Laban Мovement Аnalysis) are and more.
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Caux, Jacqueline. "Anna Halprin, pionnière de la postmodern dance." Repères, cahier de danse 45, no. 2 (2020): 5. http://dx.doi.org/10.3917/reper.045.0005.
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Young, Phillips Edward. "Dance and the Problem of Postmodern Politics." International Studies in Philosophy 30, no. 1 (1998): 131–43. http://dx.doi.org/10.5840/intstudphil1998301114.
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Van Dyke, Jan. "Vanishing: Dance Audiences in the Postmodern Age." Dance Chronicle 33, no. 2 (July 9, 2010): 208–30. http://dx.doi.org/10.1080/01472526.2010.485902.
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17
Ross, Janice. "Anna Halprin's Urban Rituals." TDR/The Drama Review 48, no. 2 (June 2004): 49–67. http://dx.doi.org/10.1162/105420404323063391.
Повний текст джерелаАнотація:
How do Halprin's urban rituals contribute to today's dance aesthetics? Halprin forged her genre of urban ritual in the early 1960s by incorporating real-life tasks and relationships into her performances. Understanding Halprin's educational and philosophical history is essential to the writing of any postmodern dance history that takes into account ritual as a performance methodology and strategy.
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BAĞIROVA, G. M. "ROMAN QARİNİN “ÇİNGİZ XAİMANIN RƏQSİ” ROMANINDA POSTMODERNİST ELEMENTLƏR." Actual Problems of study of humanities 2, no. 2024 (July 15, 2024): 115–19. http://dx.doi.org/10.62021/0026-0028.2024.2.115.
Повний текст джерелаАнотація:
Postmodernist Elements in Romain Gary’s Novel “The Dance of Genghis Cohn” Summary An outstanding representative of French literature of the 20th century, Romain Gary’s literary career is distinguished by its variety and color. The writer periodically presents the problems of the time he lived in and the Jewish identity to which he belongs. Also in his works “The dance of Genghis Cohn” highlighted the German-Jewish problem in a unique way. Using various principles of the postmodern novel, Romain Gary has created an interesting novel. From this point of view, the article first gives brief information about postmodern literature, and then analyzes the novel. Key words: Postmodernism, French literature, irony, the grotesque, the Holocaust
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Archias, S. Elise, and Juliet Bellow. "“Dance and Abstraction” Special Issue Introduction." Arts 9, no. 4 (November 25, 2020): 120. http://dx.doi.org/10.3390/arts9040120.
Повний текст джерелаАнотація:
In his 2013 book Hating Empire Properly, historian Sunil Agnani helpfully reminds his audience that an emphasis on cultural difference—a perspective that we tend to think of as the postmodern antidote to Enlightenment-era universalizing rhetoric—can in fact be traced back to early modern European thought [...]
20
Bannerman, Henrietta. "Is Dance a Language? Movement, Meaning and Communication." Dance Research 32, no. 1 (May 2014): 65–80. http://dx.doi.org/10.3366/drs.2014.0087.
Повний текст джерелаАнотація:
This essay explores western theatre dance as meaningful, despite its difference from language or discourse. I contend that although like language dance communicates through cultural codes, it does not convey literal messages but then neither is dance dominated by a requirement for factual specificity. I argue, however, that dance is structured like a language and I provide an analysis of the methods according to which language functions on an everyday basis. I review linguistic categories and argue for their counterparts in dance including vocabulary and syntax, the utterance and the speech act. The speech act is an important instance of language use which I hold is represented in dance; and in addressing this topic I shed new light on the performative quality of dance. The various theoretical issues discussed in the essay are illustrated by examples taken from modern and postmodern dance as well as from classical ballet.
21
Järvinen, Hanna. "Democratic Bodies? Reflections on «Postmodern Dance» in the United States and Finland." Nordic Journal of Dance 8, no. 2 (December 1, 2017): 18–29. http://dx.doi.org/10.2478/njd-2017-0009.
Повний текст джерелаАнотація:
Abstract By looking at how ’postmodern dance’ signifies in the dominant American and local Finnish contexts, I offer a critical reading of how the notion of ’democracy’ is intertwined with particular dancing bodies and ideas of nation and ethnicity. This requires a historical outline for how ’democracy’ entered the discourse of dance, and specifically, how its meaning has shifted in relation to the canon of the art form. Using the contrast between the hegemonic centre and what is constituted as a (geographic, linguistic, ethnic) periphery reveals how ’democracy’ is used in contemporary dance discourses to obfuscate power relations inherent to art and its institutions, especially in relation to the agency of dancers.
22
Kiseyeva, Elena V. "Artistic Time in the Productions of Postmodern Dance." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (2015): 148–54. http://dx.doi.org/10.17674/1997-0854.2015.4.148-154.
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Stanciu, Alba Simina. "Towards an Aesthetic of „Straniety” in Postmodern and Contemporary Dance." Theatrical Colloquia 11, no. 2 (November 26, 2021): 50–59. http://dx.doi.org/10.2478/tco-2021-0019.
Повний текст джерелаАнотація:
Abstract The complicated physiognomy of dance in the XX-th and XXI-th century obviously exeedes the stable marks of „beauty” as an aesthetic category, by extending the limits of imaginary and techniques of artistic productions beyond any restraints. Both form and artistic expressions become suitable for specific interpretations, through the instruments and postmodern categories. The argumentation frequently refer to three moments of avantgardes, swiftly mentioning the reform’s beginings on the european artistic environment as a starting point, and underlying the Black Montain College phenomenon, and its consequences through the 80-ties and after. The fluctuations of artistic objectives are also “organized” having a starting point two texts with an essential theoretical value, No Manifesto (Yvonne Reiner) and Yes Manifesto (Mette Ingvarsen) which permit the systematization of the dance creators’s “attitude”, underline the philosophical ideas contained by image, which generate the postmodern „straniety”.
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Fajar Surya Sukro Manis, Danang Anikan. "Hibridisasi tari klasik dan teknologi: Drama koreografi “Sang Pangeran Mangkubumi” karya Anter Asmorotedjo sebagai representasi evolusi tari postmodern." Imaji 21, no. 1 (April 30, 2023): 95–102. http://dx.doi.org/10.21831/imaji.v21i1.62982.
Повний текст джерелаАнотація:
Seni tari memiliki sejarah panjang dan berkembang seiring perkembangan jaman yang menyertainya. Bentuk perkembangan karya tari dalam posmodernisme yang sering dipakai untuk obyek inovasi adalah pemakaian teknologi dalam praktiknya. Revolusi industri 5.0 juga turut mempengaruhi cepatnya laju perkembangan teknologi dan pemanfaatannya dalam proses berkesenian yang selanjutnya disebut sebagai budaya teknologi. Perkembangan jaman menuntut perubahan dalam proses berkesenian, salahsatunya melalui proses hibridisasi. Hibidisasi membawa berbagai perubahan, tak terkecuali sistem tata nilai. Tata nilai dari berbagai sumber saling berbenturan dan berakulturasi, sehingga menciptakan hibridisasi budaya, tidak terkecuali dalam perkembangan seni tari. Jenis penelitian yang digunakan pada penelitian Hibridisasi karya tari dan teknologi dalam drama koreografi Sang Pangeran Mangkubumi yaitu kualitatif interpretif dan metode yang digunakan adalah metode deskriptif yang digambarkan sebagai salah satu cara ekplorasi dan klarifikasi kasus untuk mengangkat fakta aktual dengan interpretasi rasional. Berangkat dari kegelisahan inilah tulisan ini bertolak. Kegelisahan akan terpinggirkannya nilai konserfatif seni tari di era borderless ini membawa pada satu pertanyaan nilai ini bisa bertahan atau justru akan tergeser oleh tata nilai baru. Kajian dari tulisan ini diharapkan bisa memberikan wawasan tentang perkembangan seni tari berkolaborasi dengan beragam dukungan teknologi dan budaya teknologi berkembang di Indonesia.Kata kunci: hibridisasi, tari klasik, drama, koreografi, evolusi tari postmodern Hybridization of classical dance and technology: Choreography drama "Sang Pangeran Mangkubumi" by Anter Asmorotedjo as a representation of postmodern dance evolution AbstractDance art has a long history and has evolved with the passage of time. One form of dance development in postmodernism that is often used for innovative purposes is the use of technology in its practice. The 5.0 industrial revolution has also influenced the rapid pace of technological development and its utilization in the artistic process, which is then referred to as technological culture. The development of time demands changes in the artistic process, one of which is through the process of hybridization. Hybridization brings various changes, including changes in value systems. Values from various sources collide and acculturate, creating a hybridization of culture, including in the development of dance art. The research method used in the study of Hybridization of Dance and Technology in the choreography drama "Sang Pangeran Mangkubumi" is interpretive qualitative research, and the method used is a descriptive method, described as one way of exploring and clarifying cases to present actual facts with rational interpretations. It is from this concern that this paper departs. The concern about the marginalized value of conservative dance art in this borderless era raises a question of whether this value can survive or will be displaced by new value systems. The study presented in this paper aims to provide insights into the development of dance art collaborating with various technological support and the development of technological culture in Indonesia.Keywords: hybridization, classical dance, drama, choreography, postmodern dance evolution
25
Coates, Emily. "Yvonne Rainer’s Archive." TDR: The Drama Review 65, no. 4 (December 2021): 84–102. http://dx.doi.org/10.1017/s1054204321000563.
Повний текст джерелаАнотація:
A close reading of Yvonne Rainer’s archival papers reveals new insights into the postmodern iconoclast. Revivifying Rainer’s early choreographic practice and verbalembodied explorations, Rainer’s own notes and journals illuminate and challenge reductive interpretations of a writing dance artist’s work over time.
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Renshaw, Scott W. "Postmodern Swing Dance and Secondary Adjustment: Identity as Process." Symbolic Interaction 29, no. 1 (February 2006): 83–94. http://dx.doi.org/10.1525/si.2006.29.1.83.
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Foster, Susan. "The Signifying Body: Reaction and Resistance in Postmodern Dance." Theatre Journal 37, no. 1 (March 1985): 44. http://dx.doi.org/10.2307/3207184.
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Encinias, Nevarez. "On self-extraction." Choreographic Practices 12, no. 1 (July 1, 2021): 11–28. http://dx.doi.org/10.1386/chor_00026_1.
Повний текст джерелаАнотація:
Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to ruminate broadly on artisanship as a creative model for dance-makers, and proposes an interdisciplinary frame-of-mind for choreographers, from a time when traditional live performance was on pause.
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Dodds, Sherril, and Janet Adshead-Lansdale. "Gesture, Pop Culture, and Intertextuality in the Work of Lea Anderson." New Theatre Quarterly 13, no. 50 (May 1997): 155–60. http://dx.doi.org/10.1017/s0266464x00011015.
Повний текст джерелаАнотація:
Lea Anderson is one of the leading choreographers to have emerged over the past decade, her most characteristic work having been with the all-female group she co-founded, the Cholmondeleys, and its all-male counterpart, the Featherstonehaughs. This article explores the distinctively intertextual elements in Lea Anderson's work – elements which, the authors suggest, make it at once accessible, distinctive, and distinctively postmodern. Sherril Dodds addressed the relationships between postmodernism and popular culture in Anderson's work, with particular focus on the television image and the dance image, in her MA dissertation for the Department of Dance Studies at the University of Surrey, where she is currently a research student. Her co-author, Janet Adshead-Lansdale, is Head of Department at Surrey, and has also edited Dance Analysis: Theory and Practice (1988) and co-edited Dance History: an Introduction (1994).
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Coelho, Sílvia Pinto. "Cathy Weis talks with Sílvia Pinto Coelho. Sept-Dec 2022, Weis Acres, Broadway SoHo, US." Revista Estud(i)os de Dança 1, no. 2 (March 15, 2024): 1–14. http://dx.doi.org/10.53072/red202302/00301.
Повний текст джерелаАнотація:
This interview was carried out in the context of post-doctoral research centred on attention and choreographic thinking.[1] In this research, the work of US postmodern dance choreographers such as Lisa Nelson and Yvonne Rainer are examples of a type of ethics, aesthetics and even politics that is characteristic of the arts in a particular context and that expands to various other fields, both in terms of approach and focus of interest. Following a stay in New York, another choreographer entered the "collection of US dancers with a camera in their hand", and the use of cinema elements on stage. Cathy Weis's work stands out for its originality in this area, which made me want to interview her in 2022 while staying at her loft. The pretext for my stay in New York was to consult and watch films and videos at the public library (NYPL), visit museums, watch performances, and eventually take dance classes. However, because I was living in the historical terrain of postmodern dance in the United States, I began to see research as "fieldwork" rather than just "archive work". [1] "Attention and Choreographic Thinking" is the title of Sílvia Pinto Coelho's post-doctoral project (ICNOVA, FCSH 2019-2025).
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Brandstetter, Gabriele. "In Tact?" Sprache und Literatur 50, no. 2 (December 22, 2021): 226–39. http://dx.doi.org/10.30965/25890859-05002005.
Повний текст джерелаАнотація:
Abstract Berührungen spielen im Tanz eine zentrale Rolle: Durch sie werden Motionen und Emotionen übertragen – und auch unterbrochen, gestört. Taktilität reguliert und de/synchronisiert „bodies in tact“. Im Folgenden soll anhand von Beispielen aus dem Bereich des Postmodern Dance (Trisha Browns Spanish Dance) und des zeitgenössischen Tanzes (Meg Stuart & Philipp Gehmachers Duo Maybe Forever) gefragt werden, wie Choreografien mit inter- und intrakorporalen Synchronisierungen arbeiten. Welche Modi des in oder aus dem Takt Tanzens werden sichtbar? Lassen sich – im zeitgenössischen Tanz – Hinweise auf eine Reflexion des Phänomens der „berührungslosen Gesellschaft“ (Elisabeth von Thadden) finden?
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Moore, M. "Walk for Me: Postmodern Dance at the House of Harrell." Theater 44, no. 1 (January 1, 2014): 5–23. http://dx.doi.org/10.1215/01610775-2370746.
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Chaleff, Rebecca. "Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance." Dance Research Journal 50, no. 3 (December 2018): 71–84. http://dx.doi.org/10.1017/s0149767718000372.
Повний текст джерелаАнотація:
“Activating Whiteness: Racializing the Ordinary in US American Postmodern Dance” explores how the choreographic turn to postmodernism twisted the trope of racial exclusion from a focus on trained bodies to a focus on ordinary bodies. Analyses of Yvonne Rainer'sTrio A(1966) and Trisha Brown'sLocus(1975) demonstrate how ordinary bodies shape racially exclusive spaces and activate the biopolitical mechanisms of normalization that their choreography allegedly contests. This essay argues that the spaces activated by the bodies that shaped them carry the physical trace of the performers’ race through the enduring invisibility of whiteness.
34
Desmond, Jane. "Dancing Jewish: Jewish identity in American modern and postmodern dance." Studies in Theatre and Performance 36, no. 3 (June 2016): 285–87. http://dx.doi.org/10.1080/14682761.2016.1192388.
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35
Rewa, Natalie, and Michael J. Sidnell. "Montreal: Festival de Theatre des Ameriques, May-June, 1995." Canadian Theatre Review 86 (March 1996): 51–55. http://dx.doi.org/10.3138/ctr.86.009.
Повний текст джерелаАнотація:
The Festival de theatre des Ameriques is remarkable for the range and quality of the performance spaces that it has available and deploys to such good effect. This is partly due to an extraordinary proliferation of performance spaces in Montreal over the last ten years, unequalled in any other city in Canada in this respect; and it is partly due to the enterprise of Marie Helene Falcon, the Festival’s Director, in acquiring the use of a variety of venues and matching them to specific productions. Her programming has always brought the spectators into performance spaces of various kinds, shapes and sizes and she has often exploited not only the physical attributes of the locations but their local cultural resonances. In 1991, for example, Hip Hop Waltz of Eurydice, the late Reza Abdoh’s brilliant, postmodern reworking of cultural icons for an AIDS-conscious spectatorship was performed in the Clarke Theatre of Concordia University, an all-purpose assembly hall, with few of the markings of a traditional theatre. Similarly, in 1993, Robert Wilson’ s production of Gertrude Stein’s When Doctor Faustus Lights the Lights was performed in UQAM’s newly-completed Salle Pierre Mercure, which architecturally reinforced the spatial rhythms of Wilson’s mise en scène. By contrast Tadeusz Kantor ’s production by Cricot 2 of La Classe morte, featured during the 1991 FTA, was accommodated at the historically significant Theatre Denise Pelletier, where an exhibition of the company’s posters was also mounted. In 1991, when the FTA took the relationship between theatre and dance as one of its themes, it featured Marie Chouinard’s first choreography for a troupe of dancers at the Monument-National, while Falcon also introduced Festival audiences to the possibilities of more intimate dance performances in the new Agora de Danse at UQAM, with Rebis, Alvaro Restrepo’s ritualized dance exploration of space and the spoken word, done in homage to Garcia Lorca.
36
Galea, Nicole, and Brett Freudenberg. "The Commerce of Dance: A Postmodern Analysis of the Firm’s Role in Shaping Dance in Brisbane." International Journal of Arts Theory and History 8, no. 2 (2014): 1–10. http://dx.doi.org/10.18848/2326-9952/cgp/v08i02/36233.
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Khisamov, Denis Nikolaevich. "Russian Ballet and Postmodern Trends." Философия и культура, no. 10 (October 2022): 66–74. http://dx.doi.org/10.7256/2454-0757.2022.10.38730.
Повний текст джерелаАнотація:
In this article, Russian ballet is considered from the point of view of the peculiarities of the aesthetics of postmodernism and as one of the brightest manifestations of postmodern culture. The subject of the study is the trends of postmodernism in modern Russian ballet. The novelty of the research lies in the fact that until now, in the scientific research literature, the phenomena of modern ballet have not been subjected to scientific theoretical understanding from the point of view of trends in the aesthetics of postmodernism. It is revealed that a new stage in the development of Russian ballet is associated with the activities of S. Diaghilev's ballet troupe, characterized by a departure from traditions and the formation of a new aesthetic. The study concluded that the development of modern Russian ballet was significantly influenced by such postmodern trends as: the destructurization of the language of classical dance, the desire for syncretism of different types of art in the context of a ballet performance, the use of quotations, allusions and reminiscences that acquire conditional symbolic meaning, the desire for plastic experiments.
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Lannen, Maud. "Touching across: Performing new dance ecologies through dialogical choreographies." Journal of Dance & Somatic Practices 14, no. 2 (December 1, 2022): 165–82. http://dx.doi.org/10.1386/jdsp_00085_1.
Повний текст джерелаАнотація:
Postmodern dance and somatics have foregrounded the sense of touch via the skin as a subject of inquiry and a catalyst for change, nowhere more so than in Paxton’s Contact Improvisation (CI). Touch continues to be explored choreographically, beyond CI, in contemporary dance to increasingly stage more daring, excessive sensuality and erotics between performers and performers/audience for mainstream theatre. Such tactile strategies and displays, I suggest, raise timely questions about the politics of touch and what touch constitutes. This article is the second instalment of a wider research project that attempts to unsettle Global North and the dance discipline’s presuppositions about physical contact. Here, I build upon one of Paxton’s lesser-known theoretical influences that spurred the development of CI, namely his research into mother–child touch communication and ask: how might a feminist reassessment of maternal relationality – its haptics – generate new knowledge about touch and neo-liberal economy? How might such reconception move us towards different bodily practices and ethics grounded in the twenty-first century in dance and beyond?
39
Vilhovchenko, T. "SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 137–45. http://dx.doi.org/10.33989/2226-4051.2021.23.238271.
Повний текст джерелаАнотація:
The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.
40
Filippou, Filippos, Dimitris Goulimaris, Vasilis Serbezis, Maria Genti, and Dimos Davoras. "Collective identity and dance in modern urban Greece." Issues in Ethnology and Anthropology 5, no. 1 (February 19, 2010): 213–21. http://dx.doi.org/10.21301/eap.v5i1.11.
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The aim of this study is to trace the way some cultural groups demonstrate their identity through dance in the contemporary urban society. The survey follows revelry with folk music, singing and dancing organized by a local cultural troupe on the occasion of a feast day. The collection of the ethnographic data relied on long standing observation and the video recording of the revelries between 2000 and 2005. Further information was gathered with the means of a closed questionnaire and open question interviews. In the process of the material two theories were mainly employed: the performance theory and the theory of collective identity in postmodern culture. To sum up, we would say that dance as presented on the feast day reflects the local “multicultural” society’s characteristics. It retains its dynamic with its entity, function and content to be composed of agricultural and urban features. Dance continues to exist since it has the potential to adjust to each time social, economic and historical circumstances.
41
Kiseyeva, Elena V. "Concerning Some Principles of Musical Form-Generation in Postmodern Dance Productions." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2015): 47–54. http://dx.doi.org/10.17674/1997-0854.2015.3.047-054.
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42
Özgen, Caner, Hüseyin Köse, and Servet Reyhan. "Discovering the relationships between event identity, satisfaction, image, WoM, and re-participation intention." Management 28, no. 2 (December 20, 2023): 119–32. http://dx.doi.org/10.30924/mjcmi.28.2.9.
Повний текст джерелаАнотація:
Although small-scale dance events are popular as a postmodern socialization tool for modern people, little is known about participants’ behavioral intentions in active small-scale dance events. This research examined the hierarchical relationship between event image, event satisfaction, event identity, and behavioral intentions, including re-participation intention and positive word-of-mouth (WoM) behavior, in a repeated small-scale dance event. A total of 412 participants of the Eskisehir Dance Festival (EDF), a repeated small-scale dance event, were reached by the convenience sampling method. Research data were analyzed using structural equation modeling (SEM). First, the model’s compatibility with the data was evaluated by applying confirmatory factor analysis to the model, which includes all research structures. AVE, Cronbach alpha, and CR values were analyzed for all constructs. The conceptual model of the research was analyzed using the AMOS v22. Event image is an important predictor of both event satisfaction (β =0.88; p <0.01) and event identity (β =0.46; p <0.01). In addition, event satisfaction significantly impacted event identity (β =0.76; p <0.01). Event identity is the predictor of re-participation intention (β =0.24; p <0.01) and positive WoM behavior (β =0.88; p <0.01). Finally, WoM behavior positively affected reparticipation intention (β =0.88; p <0,01). Research results made significant empirical contributions to the literature on repeated small-scale dance events. In addition, based on the research results, suggestions were presented to managers of small-scale dance events that they could use in their marketing strategies.
43
Stanciu, Alba Simina. "Body and Interdisciplinarity. From Performance Art to a Choreographic Body Installation." CONCEPT 27, no. 2 (July 15, 2024): 127–40. http://dx.doi.org/10.37130/h9vfvv79.
Повний текст джерелаАнотація:
The true coherence of a performance depends on a structured and efficient vision, which can be symbolically reduced to three “key moments,” each having an essential role in the relationship between the “living body” and its connection with performance, which is more and more defined by interdisciplinary coherences. This paper starts with the American experiments of the 1960s and 1970s, which envisioned the “body” not only as mere “material” for feminist manifestos but also as a medium suitable for achieving the new goals set forth by performance art. The supportive environment around the Judson Dance Theatre created the necessary milieu for the convergence of body, postmodern dance, and visual arts. This openness towards experiment had important consequences for the next stage, the “Flemish wave,” and subsequently on the works of the German choreographer, Sasha Waltz.
44
Müller, Alicja. "Aesthetics of full visibility. The affirmative aspect of negation in the art of dance." Tekstualia 2, no. 49 (June 12, 2017): 77–87. http://dx.doi.org/10.5604/01.3001.0013.3118.
Повний текст джерелаАнотація:
The aim of this article is to analyze the positive (affi rmative) side of negation on the example of changes in the aesthetics of classical ballet, modern dance, and postmodern choreography. It demonstrates that every negation is, at the same time, a negotiation. In this context, negotiation means fi ghting for the visibility and representation of bodies that do not fi t in the classical canon of ballet, which is presented as a system of oppression. The fi rst part is of a theoretical character and focuses on the aesthetic changes in the fi eld of the art of dance. The second part provides an analysis of two contemporary examples of choreographies („The Old Woman and the Door” by Mats Ek and „C.O.R.P.uS” by Compagnie de l’Oiseau-Mouche) in which old and diseased bodies appear at the center of both the performance and the audience’s attention. The defi nition of the aesthetics of full visibility serves as a descriptive frame for dance performances that abolish the invisibility of bodies incompatible with the classical canon.
45
Ropo, Arja, and Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach." Journal of Management & Organization 14, no. 5 (November 2008): 560–72. http://dx.doi.org/10.1017/s1833367200003047.
Повний текст джерелаАнотація:
AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.
46
Ropo, Arja, and Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach." Journal of Management & Organization 14, no. 5 (November 2008): 560–72. http://dx.doi.org/10.5172/jmo.837.14.5.560.
Повний текст джерелаАнотація:
AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.
47
Paris, Carl. "Power (Empowerment) through the Body, Self, and Black Male Identity in Contemporary Theatrical Modern Dance." Congress on Research in Dance Conference Proceedings 2011 (2011): 20–28. http://dx.doi.org/10.1017/s0149767711000258.
Повний текст джерелаАнотація:
Postmodern articulations in contemporary theatrical modern dance have produced new black male expressions–straight and gay–that disrupt rigid and reductive representations of identity and masculinity and also open up pluralistic and libratory possibilities through the black male dancing body. I use this context to examine power (and empowerment) in the work of choreographers Bill T. Jones, Ronald K. Brown, Reggie Wilson, Nicholas Leichter, Helanius Wilkins, and Kyle Abraham, who approach the particularity of black male identity from postmodern perspectives. My idea of power, here, is inspired by Ralph Ellison's nameless black protagonist in Invisible Man whose search for self-understanding and identity stands as both a literal and allegorical struggle for the power over one's “visibility” and agency as a black man. Through identifying key philosophical, stylistic, and thematic representations across the choreographers, I explore how power negotiates and is negotiated around issues of self, sexuality, and identity in the black male dancing body.
48
Holt, Kathryn. "Book Review: Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance." Feminist Review 118, no. 1 (April 2018): 112–14. http://dx.doi.org/10.1057/s41305-018-0106-y.
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Gould, Karen L. "La nostalgie postmoderne : Marie-Claire Blais, Dante et la relecture littéraire dans Soifs." Études littéraires 31, no. 2 (April 12, 2005): 71–82. http://dx.doi.org/10.7202/501235ar.
Повний текст джерелаАнотація:
Cette étude vise à une analyse de Soifs (1995) de Marie-Claire Blais et à la représentation et déconstruction d'éléments nostalgiques évoqués par des référents intertextuels et surtout par des références à l'œuvre de Dante, au paradis perdu et au jugement des damnés.
50
Fensham, Rachel. "Repetition as a methodology: Costumes, archives and choreography." Scene 2, no. 1 (October 1, 2014): 43–60. http://dx.doi.org/10.1386/scene.2.1-2.43_1.
Повний текст джерелаАнотація:
This article considers how costumes contribute to choreographic aesthetics through their capacity to be repeated. I develop different conceptions of repetition – replication (copying); representation (appearance within a frame that represents an image); and reproduction (as construction or manufacture) of costume objects and ideas over time. Being interested in the material process of making and wearing costumes, it also investigates how repetition leads to the possibility of invention. Using Walter Benjamin’s concept of the dialectical image to discuss costumes as objects within a dance archive and within live choreography, it examines an early modern dance form called Natural Movement (NM) as well as seminal postmodern works from the 1970s. It elaborates on the iconic functions of costume in contemporary choreography in relation to Roland Barthes’ writings on the ‘fashion system’, and considers how the costume becomes a sign of its own history. Part of this project to understand repetition requires recognition that the movement quality of texture in a garment, actualizes the experience of affective work taking place in choreography. The experience of repetition in the costume-object therefore leads to a more critical response towards the role of costume in dance and performance.