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Movements of Interweaving is a rich collection of essays exploring
the concept of interweaving performance cultures in the realms of
movement, dance, and corporeality. Focusing on dance performances
as well as on scenarios of cultural movements on a global scale, it
not only challenges the concept of intercultural dance
performances, but through its innovative approach also calls
attention to the specific qualities of "interweaving" as a form of
movement itself. Divided into four sections, this volume features
an international team of scholars together developing a new
critical perspective on the cultural practices of movement, travel
and migration in and beyond dance.
What does it mean to be able to move? The Aging Body in Dance
brings together leading scholars and artists from a range of
backgrounds to investigate cultural ideas of movement and beauty,
expressiveness and agility. Contributors focus on Euro-American and
Japanese attitudes towards aging and performance, including studies
of choreographers, dancers and directors from Yvonne Rainer, Martha
Graham, Anna Halprin and Roemeo Castellucci to Kazuo Ohno and Kikuo
Tomoeda. They draw a fascinating comparison between youth-oriented
Western cultures and dance cultures like Japan's, where aging
performers are celebrated as part of the country's living heritage.
The first cross-cultural study of its kind, The Aging Body in Dance
offers a vital resource for scholars and practitioners interested
in global dance cultures and their differing responses to the
world's aging population.
Movements of Interweaving is a rich collection of essays exploring
the concept of interweaving performance cultures in the realms of
movement, dance, and corporeality. Focusing on dance performances
as well as on scenarios of cultural movements on a global scale, it
not only challenges the concept of intercultural dance
performances, but through its innovative approach also calls
attention to the specific qualities of "interweaving" as a form of
movement itself. Divided into four sections, this volume features
an international team of scholars together developing a new
critical perspective on the cultural practices of movement, travel
and migration in and beyond dance.
Igor Stravinsky's "The Rite of Spring" was premiered in 1913 by
Sergei Diaghilev's Ballets Russes under the choreography of Vaslav
Nijinsky, in the Theatre des Champs Elysees in Paris. To this day
it is considered the biggest theater scandal of the twentieth
century. With its revolutionary score and choreography, "The Rite
of Spring" can be seen as one of modernism's great breakthrough
events, and it is the most choreographed ballet in the world.
Addressing the ballet's context and history, this anthology
includes a selection of archival documentation alongside
contributions by artists and performers Eleanor Antin, Marc Bauer,
Dara Friedman, Millicent Hodson and Kenneth Archer, Karen Kilimnik,
Sara Masuger, Vaslav Nijinksy, Silke Otto-Knapp, Yvonne Rainer and
Babette Mangolte, Lucy Stein, Alexis Marguerite Teplin, Julie
Verhoeven and Mary Wigman, among others.
What does it mean to be able to move? The Aging Body in Dance
brings together leading scholars and artists from a range of
backgrounds to investigate cultural ideas of movement and beauty,
expressiveness and agility. Contributors focus on Euro-American and
Japanese attitudes towards aging and performance, including studies
of choreographers, dancers and directors from Yvonne Rainer, Martha
Graham, Anna Halprin and Roemeo Castellucci to Kazuo Ohno and Kikuo
Tomoeda. They draw a fascinating comparison between youth-oriented
Western cultures and dance cultures like Japan's, where aging
performers are celebrated as part of the country's living heritage.
The first cross-cultural study of its kind, The Aging Body in Dance
offers a vital resource for scholars and practitioners interested
in global dance cultures and their differing responses to the
world's aging population.
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Homo Pictor (German, Hardcover)
Gottfried Boehm; Contributions by Hans Belting, Peter Blome, Gottfried Boehm, Gabriele Brandstetter, …
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R5,442
Discovery Miles 54 420
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Ships in 10 - 15 working days
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The Rite of Spring at 100 (Hardcover)
Severine Neff, Maureen Carr, Gretchen Horlacher; Foreword by Stephen Walsh; As told to John Reef; Contributions by …
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R1,333
R1,266
Discovery Miles 12 660
Save R67 (5%)
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Ships in 12 - 17 working days
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When Igor Stravinsky's ballet Le Sacre du printemps (The Rite of
Spring) premiered during the 1913 Paris season of Sergei
Diaghilev's Ballets Russes, its avant-garde music and jarring
choreography scandalized audiences. Today it is considered one of
the most influential musical works of the twentieth century. In
this volume, the ballet finally receives the full critical
attention it deserves, as distinguished music and dance scholars
discuss the meaning of the work and its far-reaching influence on
world music, performance, and culture. Essays explore four key
facets of the ballet: its choreography and movement; the cultural
and historical contexts of its performance and reception in France;
its structure and use of innovative rhythmic and tonal features;
and the reception of the work in Russian music history and theory.
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A collection of essays examining the influence of Kant on Heinrich
von Kleist. The great and eccentric German writer Heinrich von
Kleist, famous for his enigmatic dramas and novellas, read the
Enlightenment philosopher Immanuel Kant in 1801. A series of
letters written around this time speak of the distresshe felt as he
absorbed the implications of Kantian thought. This sense of
distress -- long considered important to understanding Kleist's
subsequent works -- has become known to Kleist scholars as the
'Kant crisis,' and marks Kleist's abandonment of the hope of
gaining metaphysical certainty about his life. But it has never
been established which texts of Kant Kleist actually read, how well
he understood them, and why they precipitated such despair.
Kleisthimself -- aside from one paraphrasing of Kant in a letter of
1801 -- was never explicit about what he called this 'sad
philosophy.' Yet the distress seems never to have left him and
remains an abiding preoccupation throughout his dramas and stories.
This collection of essays, all in German language, represents the
most recent work of prominent scholars in the field. It takes the
pervasive sense of metaphysical crisis in Kleist's works as a
startingpoint. In the context of Kleist's response to Kant, the
essays deal with his subversive treatment of the literary motifs
and genres of his day, and with the ambiguity of truth in his works
-- for his characters and readers alike.In tracing the source of
crisis to specific writings of Kant and to other Enlightenment
thinkers such as Rousseau and Wieland, the essays show Kleist's
complex dialogue with the Enlightenment to be an important new
approach to understanding this notoriously difficult writer. Tim
Mehigan is Professor of German in the Department of Languages and
Cultures at the University of Otago, New Zealand.
Both the identity of dance and that of theory are at risk as
soon as the two intertwine. This anthology collects observations by
choreographers and scholars, dancers, dramaturges and dance
theorists in an effort to trace the multiple ways in which dance
and theory correlate and redefine each other: What is the nature of
their relationship? How can we outline a theory of dance from our
particular historical perspective which will cover dance both as a
practice and as an academic concept? The contributions examine
which concepts, interdependencies and discontinuities of dance and
theory are relevant today and promise to engage us in the future.
They address crucial topics of the current debate in dance and
performance studies such as artistic research, aesthetics,
politics, visuality, archives, and the "next generation."
When it was first published in Germany in 1995, Poetics of Dance
was already seen as a path-breaking publication, the first to
explore the relationships between the birth of modern dance, new
developments in the visual arts, and the renewal of literature and
drama in the form of avant-garde theatrical and movement
productions of the early twentieth-century. Author Gabriele
Brandstetter established in this book not only a relation between
dance and critical theory, but in fact a full interdisciplinary
methodology that quickly found foothold with other areas of
research within dance studies. The book looks at dance at the
beginnings of the 20th century, the time during which modern dance
first began to make its radical departure from the aesthetics of
classical ballet. Brandstetter traces modern dance's connection to
new innovations and trends in visual and literary arts to argue
that modern dance is in fact the preeminent symbol of modernity. As
Brandstetter demonstrates, the aesthetic renewal of dance
vocabulary which was pursued by modern dancers on both sides of the
Atlantic - Isadora Duncan and Loie Fuller, Valeska Gert and Oskar
Schlemmer, Vaslav Nijinsky and Michel Fokine - unfurled itself in
new ideas about gender and subjectivity in the arts more generally,
thus reflecting the modern experience of life and the
self-understanding of the individual as an individual. As a whole,
the book makes an important contribution to the theory of
modernity.
As performative and political acts, translation, intervention, and
participation are movements that take place across, along, and
between borders. Such movements traverse geographic boundaries,
affect social distinctions, and challenge conceptual
categorizations - while shifting and transforming lines of
separation themselves. This book brings together choreographers,
movement practitioners, and theorists from various fields and
disciplines to reflect upon such dynamics of difference. From their
individual cultural backgrounds, they ask how these movements
affect related fields such as corporeality, perception,
(self-)representation, and expression.
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