Häftad, Engelska, 2020
329 kr
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Modern dans
554 produkter
554 produkter
- Häftad, Engelska, 2008
300 kr
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The autobiography of a legendary swing dancer - Häftad, Engelska, 2019
735 kr
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How to Land: Finding Ground in an Unstable World presents a new look at embodiment that treats gravity as the organizing force for thinking and moving through our twenty-first century world. Author Ann Cooper Albright argues that a renewed attention to gravity as both a metaphoric sensibility and a physical experience can help transform moments of personal disorientation into an opportunity to reflect on the important relationship between individual resiliency and communal responsibility. Long one of the nation's preeminent thinkers in dance improvisation, Albright asks how dancers are affected by repeated images of falling bodies, bombed-out buildings, and displaced peoples, as well as recurring evocations of global economies and governments in discursive free fall or dissolution. What kind of fear gets lodged in connective tissue when there is an underlying anxiety that certain aspects of our world are in danger of falling apart? To answer this question, she draws on analyses of perception from cognitive studies, tracing the discussions of meaning, body and language through the work of Mark Johnson, Thomas Csordas, and George Lakoff, among others. In addition, she follows the past decade of debate in contemporary media concerning the implications of the weightless and two-dimensional social media exchanges on structures of attention and learning, as well as their effect on the personal growth and socialization of a generation of young adults. Each chapter interweaves discussions of movement actions with their cultural implications, documenting specific bodily experiences and then tracing their ideological ripples out through the world. - Häftad, Engelska, 2022
234 kr
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- Häftad, Engelska, 2024
168 kr
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The critically acclaimed definitive biography of Kate Bush, revised and updated for 2024, with a new foreword by Sinead Gleeson.Detailing everything from Bush's upbringing to her early exposition of talent, to her subsequent evolution into a stunningly creative and endlessly fascinating visual and musical artist, Under The Ivy is the story of one woman's life in music. Written with great detail, accuracy and admiration for her work, this is in equal parts an in-depth biography and an immersive analysis of Kate Bush's art. Focusing on her unique working methods, her studio techniques, her timeless albums and inescapable influence, Under The Ivy is an eminently readable and insightful exploration of one of the world's most unique and gifted artists.The text has been updated to include coverage of Bush's return to the top of the charts in 2022 following the extraordinary resurgence of 'Running Up That Hill.' An eye-opening journey of discovery for anyone unfamiliar with the breadth of Bush's work, Under The Ivy also rewards the long-term fan with new insights and fresh analysis. - Inbunden, Svenska, 2011
409 kr
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»Ett praktverk [...] ett absolut måste [...] ett samspel mellan text och bild som är alldeles, alldeles lysande« SVT Gomorron
»Ett andlöst vackert verk som lyckas med det svåra att i bokform fånga lite av dansens dramatik och magi« Vi Läser
»Under väldigt lång tid trodde jag att balett var något ganska tråkigt. Men så blev jag medlurad på Cullbergbaletten, på något som Mats Ek hade koreograferat - och vips hade jag trillat dit. Synd bara att det inte går att fånga i bild, tänkte jag. Tills jag såg Lesley Leslie-Spinks bilder« DN.
Mats Ek är en av vår tids mest uppmärksammade koreografer. Cullbergbaletten och Mats Ek är affischnamn i hela världen. Hans omtolkningar av klassiker som Carmen eller Giselle sätts upp om och om igen på de internationella dansscenerna. Detta stora och aldrig tidigare sammansatta verk om Mats Ek berättar om hans danskonst först och främst i bilder. Fotografen Lesley Leslie-Spinks har följt Mats Ek sedan 1970-talet och har som ingen annan tolkat rörelsen, uttrycket och dramatiken i hans verk. I Leslie-Spinks unika bildmaterial kommer man nära både den enskilda dansaren och det sammansatta verket. Boken följer Mats Eks utveckling från hans första egna koreografi 1976 genom nästan 40 olika verk fram till solot för Sylvie Guillem, Ajö, som hade premiär på Sadlers Wells i London våren 2011.Boken innehåller även bilder från familjen Eks privata album.Dans- och teaterkritikern Margareta Sörenson beskriver Mats Eks konstnärskap i en längre essä i boken och ger värdefulla nycklar till varje verk.Boken är tvåspråkig, med svenska och engelska i samma utgåva, och innehåller även en DVD med verket Gammal och Dörr, skapad speciellt för Mats Eks mor, koreografen Birgit Cullberg. Denna unika film har aldrig visats för en större publik.
Sagt om Mats Ek»Ett praktverk med hundratals bilder i färg och svartvitt [...] Hon tillåter inte rörelserna att stelna utan fångar upp dem, liksom dansarnas linjer i precis rätt ögonblick, så att bilderna får spänst, fart och kraft. Hon laddar dem med energi fylld av verkens dramatik, lekfullhet och inte minst humor.«FOTO »en mycket vacker bildbok och en utmärkt present till alla som uppskattar dans och vackra fotografier. Det är intressant att läsa de förklarande texterna till bilderna och om Mats Eks liv och arbete i Margareta Sörensons essä [...] en bok som håller att ligga framme så att man kan titta på Lesley Leslie-Spinks underbara bilder i omgångar«Teatermagasinet» Läcker dansbok «CONNOISSEUR »Riktigt härligt tittgodis [...] rekommenderas«TV4 Nyhetsmorgon »Praktverk med dansbilder« www.fotosidan.se »Hon [Lesley Leslie-Spinks] har som ingen annan kunnat förmedla rörelsen, uttrycket och dramatiken i hans [Mats Ek] verk« Kulturens värld »Öga för rörelse« SvD »fantastiska frysta ögonblick från repetitioner och legendariska föreställningar« Sveriges radio - Kulturnytt »Leslie-Spinks har fångat rörelsens dynamik, dansarnas uttryck, koreografins inre väsen - Mats Ek!« www.dansportalen.se »an exceptionally beautiful book« DANCE EUROPE »ett stycke modern klassisk svensk konst« www.gunnarsson.blogspot.com »väldigt fina och dramatiska bilder som verkligen fångar dansögonblicken. Det här är helt klart en bok som den dansintresserade inte får missa!« Blandad Konfekt Blogg
»Strålande bokverk« DANSTIDNINGEN »en fantastisk fotobok« Kortedala och Gamlestads biblioteksblogg
- Häftad, Engelska, 2023
251 kr
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When it was first published in 1990, 'Body Space Image' was acclaimed as the first book of its kind - a remarkable guide to improvisation, using a narrative of discovery that "set the mind loose from the rut of everyday perception". It was groundbreaking in the way it addressed improvised movement, experimental performance and how to create performance settings.Thirty years later, 'Body, Space, Image' still stands out from anything published in the interim - largely because of the way it combines a unique collection of images (from dance, theatre and painting) and statements by working artists.The authors start with the individual's movement itself as the basis of improvisation, then broaden their perspective to include groups working together and the physical setting of performance - space, light, sound and objects. 'Body Space Image' explores ways of working and ways of thinking about performance that have inspired beginners and experienced artists alike. It is a manual intended to stimulate rather than a comprehensive system of working and, in it, word and image combine to celebrate and record one of the most exacting art forms. Previously published by Dance Books, this is a very slightly revised new edition from Triarchy Press - E-bokEngelska, 2013
122 kr
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NOW A MAJOR FILM BY RALPH FIENNES, THE WHITE CROW'A gripping account of an extraordinary life' Daily Telegraph Born on a train in Stalin's Russia, Rudolf Nureyev was ballet's first pop icon. No other dancer of our time has generated the same excitement - both on and off stage.Nureyev's achievements and conquests became legendary: he rose out of Tatar peasant poverty to become the Kirov's thrilling maverick star; slept with his beloved mentor's wife; defected to the West in 1961; sparked Rudimania across the globe; established the most rhapsodic partnership in dance history with the middle-aged Margot Fonteyn; reinvented male technique; gatecrashed modern dance; moulded new stars; and staged Russia's unknown ballet masterpieces in the West. He and his life were simply astonishing.'Magnificent, a triumph. Captures every facet of this extraordinary man' Mail on Sunday'The definitive study of a man who, in his combination of aesthetic grace and psychological grime, can truly be called a sacred monster' Observer'Undoubtedly the definitive biography' Sunday Telegraph - Inbunden, Engelska, 2021
2 232 kr
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Tandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness — suggesting motion that is achieved by two bodies working together and acting in conjunction with one another — is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focus on Western dance histories, theories, and practices, Ritter's close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators, enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency. - Häftad, Engelska, 2021
680 kr
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Tandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness — suggesting motion that is achieved by two bodies working together and acting in conjunction with one another — is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focus on Western dance histories, theories, and practices, Ritter's close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators, enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency. - E-bokPDF, Engelska, 2020
439 kr
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Tandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness suggesting motion that is achieved by two bodies working together and acting in conjunction with one another is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focus on Western dance histories, theories, and practices, Ritter''s close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators, enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency. - E-bokEngelska, 2020
444 kr
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Tandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness suggesting motion that is achieved by two bodies working together and acting in conjunction with one another is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focus on Western dance histories, theories, and practices, Ritter''s close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators, enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency. - Inbunden, Engelska, 2020
2 232 kr
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In Choreographing in Color, J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo shifts attention away from the predominant Philippine neoliberal and U.S. imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, subservient wives, and natural dancers and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop?Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of Hip-Hop's regulation, the "euphemism," as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism - the zombie, hero, robot, and judge - constitute a way of seeing Filipino Hip-Hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and U.S. global power. Choreographing in Color therefore reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible. - Häftad, Engelska, 2020
524 kr
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In Choreographing in Color, J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo shifts attention away from the predominant Philippine neoliberal and U.S. imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, subservient wives, and natural dancers and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop?Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of Hip-Hop's regulation, the "euphemism," as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism - the zombie, hero, robot, and judge - constitute a way of seeing Filipino Hip-Hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and U.S. global power. Choreographing in Color therefore reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible. - E-bokPDF, Engelska, 2020
462 kr
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In Choreographing in Color , J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo shifts attention away from the predominant Philippine neoliberal and U.S. imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, subservient wives, and natural dancers and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop? Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of Hip-Hop''s regulation, the "euphemism," as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism - the zombie, hero, robot, and judge - constitute a way of seeing Filipino Hip-Hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and U.S. global power. Choreographing in Color therefore reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible. - E-bokEngelska, 2020
462 kr
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In Choreographing in Color , J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo shifts attention away from the predominant Philippine neoliberal and U.S. imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, subservient wives, and natural dancers and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop? Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of Hip-Hop''s regulation, the "euphemism," as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism - the zombie, hero, robot, and judge - constitute a way of seeing Filipino Hip-Hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and U.S. global power. Choreographing in Color therefore reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible. - Inbunden, Engelska, 2020
1 839 kr
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In early twentieth-century Europe, the watershed developments of pictorial abstraction, modern dance, and cinema coincided to shift the artistic landscape and the future of modern art. In Moving Modernism, Nell Andrew challenges assumptions about modernist abstraction and its appearance in the field of painting. By recovering performances, methods, and circles of aesthetic influence for avant-garde dance pioneers and filmmakers from the turn of the century to the interwar period — including dancer Loïe Fuller, who presented to symbolist artists the possibility of prolonged or suspended vision; Valentine de Saint-Point, whose radical dance paralleled the abstractions of cubo-futurist painting; Sophie Taeuber and her Dada dance; the Belgian "pure plastics" choreographer known as Akarova; and the dance-like cinema of Germaine Dulac — Andrew demonstrates that abstraction was deployed not only as modernist form but as an apparatus of creation, perception, and reception across artistic media. - Häftad, Engelska, 2020
828 kr
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In early twentieth-century Europe, the watershed developments of pictorial abstraction, modern dance, and cinema coincided to shift the artistic landscape and the future of modern art. In Moving Modernism, Nell Andrew challenges assumptions about modernist abstraction and its appearance in the field of painting. By recovering performances, methods, and circles of aesthetic influence for avant-garde dance pioneers and filmmakers from the turn of the century to the interwar period — including dancer Loïe Fuller, who presented to symbolist artists the possibility of prolonged or suspended vision; Valentine de Saint-Point, whose radical dance paralleled the abstractions of cubo-futurist painting; Sophie Taeuber and her Dada dance; the Belgian "pure plastics" choreographer known as Akarova; and the dance-like cinema of Germaine Dulac — Andrew demonstrates that abstraction was deployed not only as modernist form but as an apparatus of creation, perception, and reception across artistic media. - E-bokPDF, Engelska, 2020
536 kr
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The emergence of modern dance and the early history of cinema ran concurrent with the European avant-garde''s development of pictorial abstraction in the first decades of the 20th century. However, many assume that modernist abstraction resulted from a century of natural, autonomous evolution to painting styles and tastes. In Moving Modernism, author Nell Andrew challenges this assumption. By examining dance and film created during this period, she argues that performative modes of art created the link between bodily movement and movement depicted in modernist paintings. In a seeming paradox, dance and film - durational arts, involving real bodies in space-participated in the development of abstract art.With archival material collected in North America and Europe, Moving Modernism resurfaces lost performances, identifies working methods, and establishes the circles of aesthetic influence and reception for avant-garde dance pioneers and experimental film makers from the turn of the century to the interwar period. Reexamining the motivation that fueled the emergence of abstraction, Andrew claims that painters sought meaning not only in the material and formal picture but also in temporal and sensorial experience. Andrew looks at major figures and intellectual movements including Loïe Fuller and Symbolism; Valentine de Saint-Point and the Cubo-Futurist and neo-Symbolist movements; and early cinematic abstraction from Edison and the Lumières to Hans Richter and Marcel Duchamp. Close examinations of each figure show that theatrical display, embodied self-projection, and kinesthetic desire are not necessarily in opposition to pictorial abstraction; in fact, they expand our understanding of the urges that created modern art. - E-bokEngelska, 2020
536 kr
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The emergence of modern dance and the early history of cinema ran concurrent with the European avant-garde''s development of pictorial abstraction in the first decades of the 20th century. However, many assume that modernist abstraction resulted from a century of natural, autonomous evolution to painting styles and tastes. In Moving Modernism, author Nell Andrew challenges this assumption. By examining dance and film created during this period, she argues that performative modes of art created the link between bodily movement and movement depicted in modernist paintings. In a seeming paradox, dance and film - durational arts, involving real bodies in space-participated in the development of abstract art.With archival material collected in North America and Europe, Moving Modernism resurfaces lost performances, identifies working methods, and establishes the circles of aesthetic influence and reception for avant-garde dance pioneers and experimental film makers from the turn of the century to the interwar period. Reexamining the motivation that fueled the emergence of abstraction, Andrew claims that painters sought meaning not only in the material and formal picture but also in temporal and sensorial experience. Andrew looks at major figures and intellectual movements including Loïe Fuller and Symbolism; Valentine de Saint-Point and the Cubo-Futurist and neo-Symbolist movements; and early cinematic abstraction from Edison and the Lumières to Hans Richter and Marcel Duchamp. Close examinations of each figure show that theatrical display, embodied self-projection, and kinesthetic desire are not necessarily in opposition to pictorial abstraction; in fact, they expand our understanding of the urges that created modern art. - Inbunden, Engelska, 2022
364 kr
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Grand Hotel. My One and Only. Nine. The Best Little Whorehouse in Texas. A Day in Hollywood/A Night in the Ukraine. The Will Rogers Follies. For two decades, Tommy Tune was the maestro presiding over a string of glittering Broadway musicals that took the tradition of complete musical staging by a director-choreographer into a new era defined by spectacle and technology. He was last in a grand lineage led by Jerome Robbins, Gower Champion, Bob Fosse, and Michael Bennett, but also provided a link to a new generation of choreographers-turned-directors like Susan Stroman, Jerry Mitchell, and Casey Nicholaw. Unlike his fellow director-choreographers, Tune also maintained a successful performing career. His nine Tony Awards (plus a tenth, for Lifetime Achievement) were earned across four categories, not only for choreography and direction, but also as both featured and lead actor in a musical, for Seesaw and My One and Only--a distinction no one else can claim. Tune took the musical forward by looking backward, bringing satiric energy and contemporary style to a trove of show business antecedents--from clog dancing to showgirl formations, from precision kick lines to Fred Astaire and Ginger Rogers-style ballroom glides. He did the same with his concert and cabaret performances, drawing on classics from the Gershwins, Irving Berlin, and Cole Porter and performing them not as nostalgia but as vital, immediate statements of personal philosophy. Everything is Choreography: The Musical Theater of Tommy Tune is the first full scale book about the career of this prodigious artist. It celebrates and examines with a critical eye his major projects, and summons for readers a glorious period of dance, performance, and theatrical imagination. - E-bokPDF, Engelska, 2021
296 kr
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Grand Hotel. My One and Only. Nine. The Best Little Whorehouse in Texas. A Day in Hollywood/A Night in the Ukraine. The Will Rogers Follies. For two decades, Tommy Tune was the maestro presiding over a string of glittering Broadway musicals that took the tradition of complete musical staging by a director-choreographer into a new era defined by spectacle and technology. He was last in a grand lineage led by Jerome Robbins, Gower Champion, Bob Fosse, and Michael Bennett, but also provided a link to a new generation of choreographers-turned-directors like Susan Stroman, Jerry Mitchell, and Casey Nicholaw.Unlike his fellow director-choreographers, Tune also maintained a successful performing career. His nine Tony Awards (plus a tenth, for Lifetime Achievement) were earned across four categories, not only for choreography and direction, but also as both featured and lead actor in a musical, for Seesaw and My One and Only--a distinction no one else can claim.Tune took the musical forward by looking backward, bringing satiric energy and contemporary style to a trove of show business antecedents--from clog dancing to showgirl formations, from precision kick lines to Fred Astaire and Ginger Rogers-style ballroom glides. He did the same with his concert and cabaret performances, drawing on classics from the Gershwins, Irving Berlin, and Cole Porter and performing them not as nostalgia but as vital, immediate statements of personal philosophy.Everything is Choreography: The Musical Theater of Tommy Tune is the first full scale book about the career of this prodigious artist. It celebrates and examines with a critical eye his major projects, and summons for readers a glorious period of dance, performance, and theatrical imagination. - E-bokEngelska, 2021
296 kr
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Grand Hotel. My One and Only. Nine. The Best Little Whorehouse in Texas. A Day in Hollywood/A Night in the Ukraine. The Will Rogers Follies. For two decades, Tommy Tune was the maestro presiding over a string of glittering Broadway musicals that took the tradition of complete musical staging by a director-choreographer into a new era defined by spectacle and technology. He was last in a grand lineage led by Jerome Robbins, Gower Champion, Bob Fosse, and Michael Bennett, but also provided a link to a new generation of choreographers-turned-directors like Susan Stroman, Jerry Mitchell, and Casey Nicholaw.Unlike his fellow director-choreographers, Tune also maintained a successful performing career. His nine Tony Awards (plus a tenth, for Lifetime Achievement) were earned across four categories, not only for choreography and direction, but also as both featured and lead actor in a musical, for Seesaw and My One and Only--a distinction no one else can claim.Tune took the musical forward by looking backward, bringing satiric energy and contemporary style to a trove of show business antecedents--from clog dancing to showgirl formations, from precision kick lines to Fred Astaire and Ginger Rogers-style ballroom glides. He did the same with his concert and cabaret performances, drawing on classics from the Gershwins, Irving Berlin, and Cole Porter and performing them not as nostalgia but as vital, immediate statements of personal philosophy.Everything is Choreography: The Musical Theater of Tommy Tune is the first full scale book about the career of this prodigious artist. It celebrates and examines with a critical eye his major projects, and summons for readers a glorious period of dance, performance, and theatrical imagination. - Häftad, Engelska, 2015
902 kr
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Here is the vibrant, colorful, high-stepping story of tap -- the first comprehensive, fully documented history of a uniquely American art form, exploring all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of such contemporary tap luminaries as Gregory Hines, Brenda Bufalino, Dianne Walker, and Savion Glover.In Tap Dancing America, Constance Valis Hill, herself an accomplished jazz tap dancer, choreographer, and performance scholar, begins with a dramatic account of a buck dance challenge between Bill "Bojangles" Robinson and Harry Swinton at Brooklyn's Bijou Theatre, on March 30, 1900, and proceeds decade by decade through the 20th century to the present day. She vividly describes tap's musical styles and steps -- from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the '20s, '30s and '40s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s right up to today. Tap was long considered "a man's game," and Hill's is the first history to highlight such outstanding female dancers as Ada Overton Walker, Kitty O'Neill, and Alice Whitman, at the turn of the 20th century, as well as the pioneering women composers of the tap renaissance, in the 70s and 80s, and the hard-hitting rhythm-tapping women of the millennium such as Chloe Arnold, Ayodele Casel, Michelle Dorrance, and Dormeshia Sumbry Edwards. Written with uncanny foresight, the book features dancers who have become international touring artists and have performed on Broadway, won Emmy and Tony Awards, and received the prestigious Dance Magazine, Adele and Fred Astaire, and Jacob's Pillow Dance awards. Presented with all the verve and grace of tap itself and drawing on eyewitness accounts of early performances as well as interviews with today's greatest tappers, Tap Dancing America fills a major gap in American dance history and places tap firmly center stage. - Inbunden, Engelska, 2023
2 079 kr
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Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space. - E-bokPDF, Engelska, 2022
1 681 kr
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Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners'' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space. - E-bokEngelska, 2022
1 681 kr
Läs direkt efter köp
Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners'' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space. - Inbunden, Engelska, 2017
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One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. Through both her company and her schools, she influenced generations of performers for years to come, from Alvin Ailey to Marlon Brando to Eartha Kitt. Dunham was also one of the first choreographers to conduct anthropological research about dance and translate her findings for the theatrical stage. Katherine Dunham: Dance and the African Diaspora makes the argument that Dunham was more than a dancer-she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life.Author Joanna Dee Das examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. The book analyzes Dunham's multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and her network of interlocutors that included figures as diverse as ballet choreographer George Balanchine and Senegalese president Léopold Sédar Senghor. It traces Dunham's influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora offers new insight about how this remarkable woman built political solidarity through the arts. - E-bokPDF, Engelska, 2017
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One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. Through both her company and her schools, she influenced generations of performers for years to come, from Alvin Ailey to Marlon Brando to Eartha Kitt. Dunham was also one of the first choreographers to conduct anthropological research about dance and translate her findings for the theatrical stage. Katherine Dunham: Dance and the African Diaspora makes the argument that Dunham was more than a dancer-she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life.Author Joanna Dee Das examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. The book analyzes Dunham''s multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and her network of interlocutors that included figures as diverse as ballet choreographer George Balanchine and Senegalese president L?opold S?dar Senghor. It traces Dunham''s influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora offers new insight about how this remarkable woman built political solidarity through the arts. - E-bokEngelska, 2017
444 kr
Läs direkt efter köp
One of the most important dance artists of the twentieth century, dancer and choreographer Katherine Dunham (1909-2006) created works that thrilled audiences the world over. As an African American woman, she broke barriers of race and gender, most notably as the founder of an important dance company that toured the United States, Latin America, Europe, Asia, and Australia for several decades. Through both her company and her schools, she influenced generations of performers for years to come, from Alvin Ailey to Marlon Brando to Eartha Kitt. Dunham was also one of the first choreographers to conduct anthropological research about dance and translate her findings for the theatrical stage. Katherine Dunham: Dance and the African Diaspora makes the argument that Dunham was more than a dancer-she was an intellectual and activist committed to using dance to fight for racial justice. Dunham saw dance as a tool of liberation, as a way for people of African descent to reclaim their history and forge a new future. She put her theories into motion not only through performance, but also through education, scholarship, travel, and choices about her own life.Author Joanna Dee Das examines how Dunham struggled to balance artistic dreams, personal desires, economic needs, and political commitments in the face of racism and sexism. The book analyzes Dunham''s multiple spheres of engagement, assessing her dance performances as a form of black feminist protest while also presenting new material about her schools in New York and East St. Louis, her work in Haiti, and her network of interlocutors that included figures as diverse as ballet choreographer George Balanchine and Senegalese president L?opold S?dar Senghor. It traces Dunham''s influence over the course of several decades from the New Negro Movement of the 1920s to the Black Power Movement of the late 1960s and beyond. By drawing on a vast, never-utilized trove of archival materials along with oral histories, choreographic analysis, and embodied research, Katherine Dunham: Dance and the African Diaspora offers new insight about how this remarkable woman built political solidarity through the arts.
