By Melanie Bales, Karen Eliot
Dance by itself phrases: Histories and Methodologies anthologizes a variety of topics tested from dance-centered methodologies: modes of analysis which are emergent, dependent in correct platforms of flow research, use basic resources, and depend upon severe, proficient commentary of stream. The chapters emphasize dance historical past and middle disciplinary wisdom in 3 different types of vital dance job: functionality and reconstruction, pedagogy and choreographic method, and notational and different written varieties that learn and record dance. Conceptually, every one bankruptcy additionally increases matters and questions that time to commonly inclusive methodological purposes. attractive and insightful, Dance by itself Terms represents an enormous contribution to investigate on dance.
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Extra resources for Dance on Its Own Terms: Histories and Methodologies
Example text
H. Franks, “The Inglesby Legend: A Short Factual Survey of the International Ballet,” in Ballet Decade, ed. Arnold L. Haskell (New York: Macmillan, 1955), 182. 87. Mary Clarke, “International Ballet, ‘The Sleeping Princess’ at The Gaumont State Cinema, Kilburn,” in The Ballet Annual 1949: A Record and Year Book of the Ballet, ed. Arnold Haskell (London: Adam and Charles Black, 1949), 23–24. 88. P. J. S Richardson, “Ten Years’ Work, The Progress of ‘International Ballet,’” Dancing Times, July 1951, 583–85.
Ninette de Valois, “The Future of the Ballet,” The Dancing Times, February 1926, 589–91. 22. Lynn Garafola describes the gamble Diaghilev and Oswold Stoll took in staging the production in a London unaccustomed to the tradition of the full-length ballet: “Unlike Diaghilev’s earlier season at the house, where La Boutique Fantasque had sent London ‘off its head with delight,’ the Petipa classic ended in failure. ” Lynn Garafola, Diaghilev’s Ballets Russes (New York: Da Capo Press, 1998), 213. 23.
Like the other art forms, ballet carries the potential to communicate timely, political messages; yet unlike these other forms, the authenticity of ballet’s foundational text is always uncertain; even when producers and performers claim an authentic staging, they are really depending on some consensus about what that original text might be. Furthermore, the hybrid nature of any particular version of a well-known ballet allows multiple messages to be communicated to a wide range of audience members who carry with them their individual preconceptions, expectations, and previous experiences with ballet.