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Documents  Routledge | enregistrements trouvés : 24

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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 0-9

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Cote : 700.905 C975 2021

"(...) as with museums, theaters and especially contemporary performance festivals have over the last two decades been increasingly faced with artists whose works challenge conventional disciplinary uses and modes of display. For example, staging durational works for an audience that can come and go as they please (like in the museum), or works that take over the entire building (as opposed to just the stage), or that perform for one audience member at a time, and that as such, challenge conventional frameworks and production processes. Performing arts institutions have sometimes hired curators from the visual art world; contemporary performance festivals, too, have experimented with this rapprochment between the visual and performing arts.

Museums, galleries, and performing arts spaces, as well as theater festivals and biennales, have therefore been faced with the reality of having to rethink not just what they show or present, but how they present it. In light of these transformating aesthetic and cross-disciplinary developments that have been brewing ovre the last two decades, (re)defining the experience of art, we see dramaturgy and curating as the two institutional-creative practices that bridge this trend. (...) -- P. 2.

Comprend des notes bibliographiques à la fin des chapitres.
Comprend un index.
"(...) as with museums, theaters and especially contemporary performance festivals have over the last two decades been increasingly faced with artists whose works challenge conventional disciplinary uses and modes of display. For example, staging durational works for an audience that can come and go as they please (like in the museum), or works that take over the entire building (as opposed to just the stage), or that perform for one audience ...

Dramaturgie ; Animation socio-culturelle ; Expositions ; Art contemporain ; Entretiens ; Art de performance ; Art in situ

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Cote : 792.8089 M935 1996

"The explosive growth of dance studies over the past decade has led to controversies on a host of fundamental issues, from how dance is to be analyzed and interpreted to dance's place in culture and history. The contributors in 'moving words' take up these issues, their diverse views reflecting the conceptual clashes of a field in dynamic transition. At the same time, the authors examine the broader questions of gender, class, ethnicity, nationalism, and cultural exchange within the context of bodily practice.
Essays address topics such as the representation of the black male body on the concert stage, gender performativity and subversion in Mark Morris's dances, race and gender in Martha Graham's 'American Document', and historical revisions of the 'oriental' dance. Throughout the book, contributors consider ethnographic, feminist, cultural, and litterary theory in relationship to penetrating analyses of the body in motion. 'Moving words' give historians, critics, and students of cultural and performance studies essential insights into the key issues of dance and society, while at the same time documenting critical thought in the making."--P. [4] de la couv.

Comprend des notes bibliographiques à la fin des chapitres.
Comprend un index.
"The explosive growth of dance studies over the past decade has led to controversies on a host of fundamental issues, from how dance is to be analyzed and interpreted to dance's place in culture and history. The contributors in 'moving words' take up these issues, their diverse views reflecting the conceptual clashes of a field in dynamic transition. At the same time, the authors examine the broader questions of gender, class, ethnicity, ...

Critique de danse ; Histoire et critique ; Identité sexuelle ; Danseur ; Masculinité (psychologie) ; Féminité (psychologie) ; Ethnicité ; Art de performance ; Littérature et danse ; Postmodernisme

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Cote : 792.8082 B215d 1998

Comprend des notes bibliographiques.
Comprend un index.

"Taking a fresh and innovative approach to dance history, 'Dancing woman: female bodies on stage' examines the Western dance - from the Romantic Ballet to modern dance - from a feminist perspective. Renowned critic ans historian Sally Banes brings nuance and complexity to a wide range of representations of gender, departing from the common positions that stress either the victimization or celebration of women.
Combining close readings of performances with analysis of the socio-political and cultural context of specific dances, Banes opens up dynamic new ways of seeing the female body ono stage. She untangles various strands of performance, including choreographic structure and style and gaps between plot and performance. (...)"--P. [4] de la couv.
Comprend des notes bibliographiques.
Comprend un index.

"Taking a fresh and innovative approach to dance history, 'Dancing woman: female bodies on stage' examines the Western dance - from the Romantic Ballet to modern dance - from a feminist perspective. Renowned critic ans historian Sally Banes brings nuance and complexity to a wide range of representations of gender, departing from the common positions that stress either the victimization or ...

Danseuse ; Aspect social ; Ballet romantique ; Ballet ; Danse moderne ; Femmes ; Féminité (psychologie) ; Féminisme

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Cote : 792.8019 S421p 2019

"(...) examines how psychological theory can be related to dance practice. Aimed at the dancer who wants to maximize their potential but has no grounding in psychology, the book begins with an examination of basic psychological concepts, approaches and methods, before applying theory to dance.
The book explores why dance is so important in many people's lives: as a form of fitness, a profession, or visual entertainment. Each chapter then examines a different aspect of psychology related to dance in an applied context. Self-perception is examined as dancers are under great scrutiny; a grounded sense of self will ensure a positive perception of self-worth and body image, and suggestions are made as to how a healthy and motivational climate can be created. The book also places an emphasis on how cognitive skills are as important as technical skills, including the ability to learn and recall steps and choreography as efficiently as possible. Social factors are related to the dance context, with a discussion of effective leadership and communication skills and the importance of group cohesion. Finally, there is a review of the impact of emotions on dance practice and how best to manage these emotions.
Each chapter reviews important psychological theories, offering practical suggestions on how they can be applied to dance practice. Psychology for Dancers is an invaluable resource for students, professionals, and teachers of dance."--P.[4] de la couv.

Comprend un glossaire et une bibliographie à la fin des chapitres.
Comprend un index.
"(...) examines how psychological theory can be related to dance practice. Aimed at the dancer who wants to maximize their potential but has no grounding in psychology, the book begins with an examination of basic psychological concepts, approaches and methods, before applying theory to dance.
The book explores why dance is so important in many people's lives: as a form of fitness, a profession, or visual entertainment. Each chapter then ...

Danseurs ; Psychologie ; Perception de soi ; Motivation (psychologie) ; Psychologie de l'apprentissage ; Aspect social ; Intelligence émotionnelle ; Guides, manuels, etc.

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Cote : 792.01 A669 2012

"(...) is a compelling exploration of how the performance of presence can be understood through the relationships between performance theory and archaeological thinking. Drawing together carefully commissioned contributions from leading international scholars and artists, this radical new work poses a number of essential questions:
• What are the principal signifiers of theatrical presence?
• How is presence achieved through theatrical performance?
• What makes a memory come alive and live again?
• How is presence connected with identity?
• Is presence synonymous with ‘being in the moment’?
• What is the nature of the ‘co-presence’ of audience and performer?
• Where does performance practice end and its documentation begin?
(...) represents an innovative and rewarding feat of interdisciplinary scholarship."--P. [4] de la couv.

Comprend une bibliographie et des notes à la fin des chapitres.
Comprend un index.
"(...) is a compelling exploration of how the performance of presence can be understood through the relationships between performance theory and archaeological thinking. Drawing together carefully commissioned contributions from leading international scholars and artists, this radical new work poses a number of essential questions:
• What are the principal signifiers of theatrical presence?
• How is presence achieved through theatrical ...

Absence et présence ; Pleine conscience ; Conscience de soi ; Art de performance ; Interdisciplinarité dans l'art ; Entretiens

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Cote : 615.82 L529c 2011

"What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer’s body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it?

Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores.

Foster examines the relationships between three central components in the experience of watching a dance - the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic."--P.[4] de la couv.
"What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer’s body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it?

Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this ...

Kinesthésie ; Mouvement ; Art de performance ; Sens et sensations ; Sentiments ; Publics ; Aspect social ; Empathie

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Cote : 792.801 S738w 2015

"In What a Body Can Do, Ben Spatz develops, for the first time, a rigorous theory of embodied technique as knowledge. He argues that understranding technique as a field of both training and research has much to offer current discussions around the role of practice in the university, including the debates over "practice as research."
Drawing on critical perspectives from the sociology of knowledge, phenomenology, dance studies, enactive cognition, and other areas, Spatz argues that technique is a major area of historical and ongoing research in physical culture, performing arts, and everyday life."-P.4 de la couverture.

Comprend une bibliographie.
Comprend un index.
"In What a Body Can Do, Ben Spatz develops, for the first time, a rigorous theory of embodied technique as knowledge. He argues that understranding technique as a field of both training and research has much to offer current discussions around the role of practice in the university, including the debates over "practice as research."
Drawing on critical perspectives from the sociology of knowledge, phenomenology, dance studies, enactive ...

Technique ; Yoga ; Identité sexuelle ; Masculinité (psychologie) ; Interprétation ; Cognition ; Épistémologie

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Cote : 617.1027 S592d 2014

Titre original: Tanzmedizin in der praxis: anatomie, prävention, trainingstipps.

Comprend une bibliographie.
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Lésions et blessures ; Prévention ; Anatomie ; Entraînement ; Alimentation ; Squelette ; Muscles

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Cote : 792.8012 T457b 2013

Comprend une bibliographie.
Comprend un index.

Corps humain ; Image du corps ; Art de performance ; Aspect social ; Identité sexuelle ; Personnes âgées ; Danse ; Ethnologie ; Étude et enseignement

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Cote : 792.8019 C585y 2006

Comprend une bibliographie.
Comprend un index.

Interprétation ; Androgynie (psychologie) ; Identité sexuelle ; Séduction ; Danseurs ; Grande-Bretagne ; Esthétique ; Psychanalyse ; Sexisme

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Cote : 792.86308 B972a 2010

"(...) invites the reader to investigate how and why to make a dance performance. In an inspiring and unusually empowering sequence of stories, ideas and paradoxes, internationally renowned dancer, choreographer and teacher Jonathan Burrows explains how it's possible to navigate a course through this complex process.
It is a stunning reflection on a personal practice and professional journey, and draws upon five years of workshop discussions, led by Burrows.
Burrows' open and honest prose gives the reader access to a range of exercices, meditations, principles and ideas on choreography that allow artists and dance-makers to find their own aesthetic process.
It is a book for anyone interested in making performance, at whatever level and in whichever style." -- P. [4] de la couv.

Comprend une bibliographie.
Comprend un index.
"(...) invites the reader to investigate how and why to make a dance performance. In an inspiring and unusually empowering sequence of stories, ideas and paradoxes, internationally renowned dancer, choreographer and teacher Jonathan Burrows explains how it's possible to navigate a course through this complex process.
It is a stunning reflection on a personal practice and professional journey, and draws upon five years of workshop discussions, ...

Chorégraphie ; Étude et enseignement ; Guides, manuels, etc. ; Problèmes et exercices ; Processus de création ; Gestes ; Terminologie ; Technique

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Cote : 791.43655 M172m 2006

Comprend une bibliographie.
Comprend un glossaire.
Comprend un index.

Films de danse ; Guides, manuels, etc. ; Processus de création ; Cinéma ; Technique ; Production et mise en scène ; Chorégraphie

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Cote : 791.43655 M684e 2002

"Collaboration between filmmakers and dance makers began with the dawn of cinema, and today virtually everyone working in dance uses madia. 'Envisioning Dance on Film and Video' provides personal accounts by professionals who have set the standard for this creative endeavor. Contributors include choreographers, filmmakers, film editors and producers, archivists, historians, critics and scholars. Forty groundreaking films and videos excerpted in the landmark two-hour DVD companion ilustrate fifty original essays. Adding to the essays and DVD are timelines, storyboards, choreographic notes, photographs, personal sidebars, and resource guides. 'Envisioning Dance on Film and Video' provides the most comprehensive information on this subject to date. It is a work that will appeal to all students (and practitioners) of dance and film.

Ont aussi collaboré: Elizabeth Zimmer, Dale Ann Stieber, Nelli Heinonen, Norah Zuniga Shaw.
"Collaboration between filmmakers and dance makers began with the dawn of cinema, and today virtually everyone working in dance uses madia. 'Envisioning Dance on Film and Video' provides personal accounts by professionals who have set the standard for this creative endeavor. Contributors include choreographers, filmmakers, film editors and producers, archivists, historians, critics and scholars. Forty groundreaking films and videos excerpted in ...

Films de danse ; Technique ; Danse au cinéma ; Danse à la télévision ; Archives ; Comédies musicales ; Chorégraphie ; Interprétation ; Réalisation

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