When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation''s dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.

Tamara Karsavina (1885-1978) was known as a renowned ballerina, writer, and intellectual. Drawing from Karsavina's many published and unpublished writings, Alighting from the Air demonstrates how her experiences and training contributed to the development of her aesthetic credo. She became a celebrated principal dancer at the Maryinsky Theatre in St. Petersburg, assumed a leading role in Sergei Diaghilev's Ballets Russes, and was noted for embodying Michel Fokine's choreographic innovations. In 1930, she published her popular memoir, Theatre Street, describing her rise through the ranks of the Imperial Russian ballet and escape with her British husband and son from revolutionary Russia to England. Her substantial record of publication includes articles devoted to aspects of classical ballet technique, and decades of essays, published mostly in Dancing Times. These wide-ranging articles document not only her performance experience with the Ballets Russes and in her own tours but ballet pedagogy and history more generally. Her work also analyzes ballet choreographies and reflects on classical ballets and steps or expressive elements that she feared were lost in contemporary productions. Alighting from the Air weaves together the narrative of Karsavina's life with analyses of her writings to foreground her development as an intellectual and an artist aware of, and sensitive to, the classical and modern arts movements of her time.

Tamara Karsavina (1885-1978) was known as a renowned ballerina, writer, and intellectual. Drawing from Karsavina's many published and unpublished writings, Alighting from the Air demonstrates how her experiences and training contributed to the development of her aesthetic credo. She became a celebrated principal dancer at the Maryinsky Theatre in St. Petersburg, assumed a leading role in Sergei Diaghilev's Ballets Russes, and was noted for embodying Michel Fokine's choreographic innovations. In 1930, she published her popular memoir, Theatre Street, describing her rise through the ranks of the Imperial Russian ballet and escape with her British husband and son from revolutionary Russia to England. Her substantial record of publication includes articles devoted to aspects of classical ballet technique, and decades of essays, published mostly in Dancing Times. These wide-ranging articles document not only her performance experience with the Ballets Russes and in her own tours but ballet pedagogy and history more generally. Her work also analyzes ballet choreographies and reflects on classical ballets and steps or expressive elements that she feared were lost in contemporary productions. Alighting from the Air weaves together the narrative of Karsavina's life with analyses of her writings to foreground her development as an intellectual and an artist aware of, and sensitive to, the classical and modern arts movements of her time.

Tamara Karsavina (1885-1978) was known as a renowned ballerina, writer, and intellectual. Drawing from Karsavina's many published and unpublished writings, Alighting from the Air demonstrates how her experiences and training contributed to the development of her aesthetic credo. She became a celebrated principal dancer at the Maryinsky Theatre in St. Petersburg, assumed a leading role in Sergei Diaghilev's Ballets Russes, and was noted for embodying Michel Fokine's choreographic innovations. In 1930, she published her popular memoir, Theatre Street, describing her rise through the ranks of the Imperial Russian ballet and escape with her British husband and son from revolutionary Russia to England. Her substantial record of publication includes articles devoted to aspects of classical ballet technique, and decades of essays, published mostly in Dancing Times. These wide-ranging articles document not only her performance experience with the Ballets Russes and in her own tours but ballet pedagogy and history more generally. Her work also analyzes ballet choreographies and reflects on classical ballets and steps or expressive elements that she feared were lost in contemporary productions. Alighting from the Air weaves together the narrative of Karsavina's life with analyses of her writings to foreground her development as an intellectual and an artist aware of, and sensitive to, the classical and modern arts movements of her time.

When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.

When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation''s dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The chapters emphasize dance history and core disciplinary knowledge in three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

Working from the premise that dance history can be studied as it has been created in and through the bodies of dancers, Karen Eliot closely examines the lives and careers of five popular female dancers: Giovanna Baccelli, AdÈle DumilÂtre, Tamara Karsavina, Moira Shearer, and Catherine Kerr. Notable dancers in European and Russian ballet and American modern dance genres, these women represent a historical cross section of performance, training, and technique.  By elegantly guiding the reader through the Russian Revolution, stage fright and illness, liaisons with aristocracy, movie stardom, and dancing rivalries, Dancing Lives provides valuable insight into the culture in which each woman performed. Readers are introduced to each dancer's social and economic status, her education and training, and changing debates about dance and choreography. The resulting stories are packed with intimate personal details, keen descriptions of dance pedagogy and performance, and behind-the-curtain glimpses of popular dance trends.

Revealing Merce Cunninghams creative processes as inspiration for todays dancers and choreographersIn this book, former members of the Merce Cunningham Dance Company detail the technique classes, rehearsal procedures, and compositional approaches that defined Cunninghams New York studio for more than sixty years. Through firsthand accounts supported by interviews and secondary sources, the authors reveal Cunninghams creative processhow simple movement phrases introduced in class evolved into the intricate and striking dances that became his signature.The Artistry of Merce Cunningham also offers creative prompts inspired by themes and motifs from Cunninghams repertory, designed to spark ideas for choreographers and performance artists. It highlights how steady daily practice, curiosity, and experimentation can transform raw movement into complex works of art. By documenting Cunninghams methods, Daniel Roberts and Karen Eliot provide inspiration for todays dancers and choreographers as they navigate the materials, technologies, and artistic challenges of the twenty-first century.

Revealing Merce Cunninghams creative processes as inspiration for todays dancers and choreographersIn this book, former members of the Merce Cunningham Dance Company detail the technique classes, rehearsal procedures, and compositional approaches that defined Cunninghams New York studio for more than sixty years. Through firsthand accounts supported by interviews and secondary sources, the authors reveal Cunninghams creative processhow simple movement phrases introduced in class evolved into the intricate and striking dances that became his signature.The Artistry of Merce Cunningham also offers creative prompts inspired by themes and motifs from Cunninghams repertory, designed to spark ideas for choreographers and performance artists. It highlights how steady daily practice, curiosity, and experimentation can transform raw movement into complex works of art. By documenting Cunninghams methods, Daniel Roberts and Karen Eliot provide inspiration for todays dancers and choreographers as they navigate the materials, technologies, and artistic challenges of the twenty-first century.

Revealing Merce Cunningham’s creative processes as inspiration for today’s dancers and choreographersIn this book, former members of the Merce Cunningham Dance Company detail the technique classes, rehearsal procedures, and compositional approaches that defined Cunningham’s New York studio for more than sixty years. Through firsthand accounts supported by interviews and secondary sources, the authors reveal Cunningham’s creative process—how simple movement phrases introduced in class evolved into the intricate and striking dances that became his signature.The Artistry of Merce Cunningham also offers creative prompts inspired by themes and motifs from Cunningham’s repertory, designed to spark ideas for choreographers and performance artists. It highlights how steady daily practice, curiosity, and experimentation can transform raw movement into complex works of art. By documenting Cunningham’s methods, Daniel Roberts and Karen Eliot provide inspiration for today’s dancers and choreographers as they navigate the materials, technologies, and artistic challenges of the twenty-first century.

When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation''s dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.

Tamara Karsavina (1885-1978) was known as a renowned ballerina, writer, and intellectual. Drawing from Karsavina's many published and unpublished writings, Alighting from the Air demonstrates how her experiences and training contributed to the development of her aesthetic credo. She became a celebrated principal dancer at the Maryinsky Theatre in St. Petersburg, assumed a leading role in Sergei Diaghilev's Ballets Russes, and was noted for embodying Michel Fokine's choreographic innovations. In 1930, she published her popular memoir, Theatre Street, describing her rise through the ranks of the Imperial Russian ballet and escape with her British husband and son from revolutionary Russia to England. Her substantial record of publication includes articles devoted to aspects of classical ballet technique, and decades of essays, published mostly in Dancing Times. These wide-ranging articles document not only her performance experience with the Ballets Russes and in her own tours but ballet pedagogy and history more generally. Her work also analyzes ballet choreographies and reflects on classical ballets and steps or expressive elements that she feared were lost in contemporary productions. Alighting from the Air weaves together the narrative of Karsavina's life with analyses of her writings to foreground her development as an intellectual and an artist aware of, and sensitive to, the classical and modern arts movements of her time.

Tamara Karsavina (1885-1978) was known as a renowned ballerina, writer, and intellectual. Drawing from Karsavina's many published and unpublished writings, Alighting from the Air demonstrates how her experiences and training contributed to the development of her aesthetic credo. She became a celebrated principal dancer at the Maryinsky Theatre in St. Petersburg, assumed a leading role in Sergei Diaghilev's Ballets Russes, and was noted for embodying Michel Fokine's choreographic innovations. In 1930, she published her popular memoir, Theatre Street, describing her rise through the ranks of the Imperial Russian ballet and escape with her British husband and son from revolutionary Russia to England. Her substantial record of publication includes articles devoted to aspects of classical ballet technique, and decades of essays, published mostly in Dancing Times. These wide-ranging articles document not only her performance experience with the Ballets Russes and in her own tours but ballet pedagogy and history more generally. Her work also analyzes ballet choreographies and reflects on classical ballets and steps or expressive elements that she feared were lost in contemporary productions. Alighting from the Air weaves together the narrative of Karsavina's life with analyses of her writings to foreground her development as an intellectual and an artist aware of, and sensitive to, the classical and modern arts movements of her time.

Tamara Karsavina (1885-1978) was known as a renowned ballerina, writer, and intellectual. Drawing from Karsavina's many published and unpublished writings, Alighting from the Air demonstrates how her experiences and training contributed to the development of her aesthetic credo. She became a celebrated principal dancer at the Maryinsky Theatre in St. Petersburg, assumed a leading role in Sergei Diaghilev's Ballets Russes, and was noted for embodying Michel Fokine's choreographic innovations. In 1930, she published her popular memoir, Theatre Street, describing her rise through the ranks of the Imperial Russian ballet and escape with her British husband and son from revolutionary Russia to England. Her substantial record of publication includes articles devoted to aspects of classical ballet technique, and decades of essays, published mostly in Dancing Times. These wide-ranging articles document not only her performance experience with the Ballets Russes and in her own tours but ballet pedagogy and history more generally. Her work also analyzes ballet choreographies and reflects on classical ballets and steps or expressive elements that she feared were lost in contemporary productions. Alighting from the Air weaves together the narrative of Karsavina's life with analyses of her writings to foreground her development as an intellectual and an artist aware of, and sensitive to, the classical and modern arts movements of her time.

When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.

When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation''s dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players-- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The chapters emphasize dance history and core disciplinary knowledge in three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

Working from the premise that dance history can be studied as it has been created in and through the bodies of dancers, Karen Eliot closely examines the lives and careers of five popular female dancers: Giovanna Baccelli, AdÈle DumilÂtre, Tamara Karsavina, Moira Shearer, and Catherine Kerr. Notable dancers in European and Russian ballet and American modern dance genres, these women represent a historical cross section of performance, training, and technique.  By elegantly guiding the reader through the Russian Revolution, stage fright and illness, liaisons with aristocracy, movie stardom, and dancing rivalries, Dancing Lives provides valuable insight into the culture in which each woman performed. Readers are introduced to each dancer's social and economic status, her education and training, and changing debates about dance and choreography. The resulting stories are packed with intimate personal details, keen descriptions of dance pedagogy and performance, and behind-the-curtain glimpses of popular dance trends.

Revealing Merce Cunninghams creative processes as inspiration for todays dancers and choreographersIn this book, former members of the Merce Cunningham Dance Company detail the technique classes, rehearsal procedures, and compositional approaches that defined Cunninghams New York studio for more than sixty years. Through firsthand accounts supported by interviews and secondary sources, the authors reveal Cunninghams creative processhow simple movement phrases introduced in class evolved into the intricate and striking dances that became his signature.The Artistry of Merce Cunningham also offers creative prompts inspired by themes and motifs from Cunninghams repertory, designed to spark ideas for choreographers and performance artists. It highlights how steady daily practice, curiosity, and experimentation can transform raw movement into complex works of art. By documenting Cunninghams methods, Daniel Roberts and Karen Eliot provide inspiration for todays dancers and choreographers as they navigate the materials, technologies, and artistic challenges of the twenty-first century.

Revealing Merce Cunninghams creative processes as inspiration for todays dancers and choreographersIn this book, former members of the Merce Cunningham Dance Company detail the technique classes, rehearsal procedures, and compositional approaches that defined Cunninghams New York studio for more than sixty years. Through firsthand accounts supported by interviews and secondary sources, the authors reveal Cunninghams creative processhow simple movement phrases introduced in class evolved into the intricate and striking dances that became his signature.The Artistry of Merce Cunningham also offers creative prompts inspired by themes and motifs from Cunninghams repertory, designed to spark ideas for choreographers and performance artists. It highlights how steady daily practice, curiosity, and experimentation can transform raw movement into complex works of art. By documenting Cunninghams methods, Daniel Roberts and Karen Eliot provide inspiration for todays dancers and choreographers as they navigate the materials, technologies, and artistic challenges of the twenty-first century.

Revealing Merce Cunningham’s creative processes as inspiration for today’s dancers and choreographersIn this book, former members of the Merce Cunningham Dance Company detail the technique classes, rehearsal procedures, and compositional approaches that defined Cunningham’s New York studio for more than sixty years. Through firsthand accounts supported by interviews and secondary sources, the authors reveal Cunningham’s creative process—how simple movement phrases introduced in class evolved into the intricate and striking dances that became his signature.The Artistry of Merce Cunningham also offers creative prompts inspired by themes and motifs from Cunningham’s repertory, designed to spark ideas for choreographers and performance artists. It highlights how steady daily practice, curiosity, and experimentation can transform raw movement into complex works of art. By documenting Cunningham’s methods, Daniel Roberts and Karen Eliot provide inspiration for today’s dancers and choreographers as they navigate the materials, technologies, and artistic challenges of the twenty-first century.