"(...) 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.[-]

" Relational Improvisation explores the creative exchanges that occur between artistic disciplines through the practice of improvisation in performance. Building upon the growing research into improvisation, the book explores contemporary transdisciplinary collaborations between improvised music and other fields including dance and visual arts, offering insights from a wide range of practitioners. Author Simon Rose takes a ground-up approach that places value on lived experience and reflects the value of collaboration. Mirroring improvisation's relationality, chapters are co-authored by musicians, dancers and visual artists from diverse backgrounds who are engaged in active artistic collaborations with the author.

The relational approach allows for the inclusion of improvisation's scope and many levels. Showcasing a range of different voices, the chapters address topics in artistic improvisation including cybernetics, interspecies work, working with light, phenomenology, sympoiesis and identity, and utilise a range of approaches including autoethnography and philosophical analysis. Considering the relationships of improvisation to emotion, space, embodiment and philosophy, this book shows how improvisation, collaboration and transdisciplinary artistic practices combine to generate new creative possibilities. It provides vital insights for practicing artists, arts researchers, philosophy and pedagogy and all those studying improvisation and collaborative creativity in contemporary music, dance and visual arts." 4e de couverture

Contents
1- Double-resonance : improvisation, relationality and Transdisciplinarity ( Simon Rose)
2- The "Performance" of improvised music : What do we mean when we talk about performance ? (Simon Rose)
3- Contemporary Art and Improvisation (Simon Rose & Julie Myers)
4- The shared space of improvisation in dance and music (Simon Rose & Ingo Reulecke)
5- Levels of improvisation and neocybernetic relations (Simon Rose & Adam Pultz Melbye)
6- Interspecies improvisation (Simon Rose & Barbara Berti)
7- A phenomenology of improvisation in dance and music : peripatetic symphilosophein (Simon Rose & Andrew Wass)
8- From South Korea to Berlin : 'moving between the note' in collaborative improvisation (Simon Rose & Youjin Sung)
9- Sympoiesis and improvisation : how I work, how you work and how we work (Simon Rose & Paul Stapleton)
10- Musical identity and exchange in improvisation ( Simon Rose & Kriton Beyer)
11- Light, music and improvisation (Simon Rose, Lena Czerniawska, Emese Csornai & Viola Yip)
12- Improvisation and uncovering collaboration ( Simon Rose & Nicola L. Hein)[-]

«YOU, THE CHOREOGRAPHER, Creating and Crafting Dance offers a synthesis of histories, theories, philosophies, and creative practices across diverse genres of concert dance choreography. The book is designed for readers at every stage of creative development who seek to refine their artistic sensibility.
Through a review of major milestones in the field, including contributions to choreography from the humanities, arts, and modern sciences, readers will gain new perspectives on the historical development of choreography. Concise analyses of traditional fundamentals and innovative practices of dance construction, artistic research methods, and approaches to artistic collaboration offer readers new tools to build creative habits and expand their choreographic proficiencies.
For learners and educators, this is a textbook. For emerging professionals, it is a professional-development tool. For established professionals, it is a companion handbook that reinvigorates inspiration. To all readers it offers a cumulative, systematic understanding of the art of dance making, with a wealth of cross-disciplinary references to create a dynamic map of creative practices in choreography.» 4e de couverture

Contents
Book 1 : Time travel : Choreographing through the ages
1- Stone Age : The dawn of dance - Choreographing Ritual
2- Acien Age : Gods and Muses in Motion - Choreographing Art
3- Medieval Age : Leaping into Groupe Identity - Choreographing symbol
4- Renaissance and Baroque Age : Walting Kingdoms - Choreographing Culture
5- Industrial Age : Dancing the Self - Choreographing Expression
6- Information Age : Turning Against the Norm - Choreographing Experimentation
7- Integral Age : Conceiving Progressive Coherency - Choreographin Integration

Book 2 : Mind and Muscle : the Body, Intellect , and Creative Spirit
8- The Moving Body as a Work of Art - Corpus Cognitus
9- Dissection of a Glorious Mind - Inside the Brain of the Choreographer
10- Intuitive Craftmanship - Handling Perfect Imperfections

Book 3 : Concept and Context : Innovation, intentionality, and Individuality
11- Intentive Creativity - In Art, Everything is Possible
12- Framing Content and Sorting Concepts - Logistics of the Unlimited
13- Choreographic Individuality and Artistic Identity - The Search for Who I Am

Book 4 : Form and Formlessness : Generating Movement Material
14- The emmergence of Movement - First Crawl and Walk, Then Run
15- Dance improvisation : Embracing Choreographic Adventures
16- Choreographic Phrase - Diving into the Movement Flow

Book 5 : Process and progress : Developing Movement Material
17- Choreographic Devices and Operations - Growing a Dance Garden
18- Structure and Restructure, construct and Deconstruct - Architeching a Dance
19- Physical Dramaturgy - Making a Monument out of Movement

Book 6 : Sonic Swing : Dance the music, Music the Dance
20- Melody in Motion - Are Music and Dance Best Friend Forever ?
21- Attract and Retract - Seeking, Choosing, and Working with Music
22- Body of Sound - Dancing Silence, Noisem Soundscape, and Spoken Word

Book 7: Picture Perfect : Venture Follow Vision
23- Nurturind Semantics - Naming a Newborn Dance and Raising a Brand
24- Piecing a Production Together - Think Costumes, Lights and Scenic Desing
25- Career in Choreography - Dancing Decisions Moving Forward

Index and Biographies[-]

"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.[-]

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.[-]

"(...) 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.[-]

" This book is an innovative study that places performance and dance studies in conversation with ecology by exploring the significance of dirt in performance.

Focusing on a range of 20th- and 21st-century performances that include modern dance, dance-theatre, Butoh, and everyday life, this book demonstrates how the choreography of dirt makes biological, geographical, and cultural meaning, what the author terms "biogeocultography". Whether it's the Foundling Father digging into the earth's strata in Suzan-Lori Park's The America Play (1994), peat hurling through the air in Pina Bausch's The Rite of Spring (1975), dancers frantically shovelling out fistfuls of dirt in Eveoke Dance Theatre's Las Mariposas (2010), or Butoh performers dancing with fungi in Iván-Daniel Espinosa's Messengers Divinos (2018), each example shows how the incorporation of dirt can reveal micro-level interactions between species – like the interplay between microscopic skin bacteria and soil protozoa – and macro-level interactions – like the transformation of peat to a greenhouse gas. By demonstrating the stakes of moving dirt, this book posits that performance can operate as a space to grapple with the multifaceted ecological dilemmas of the Anthropocene.

This book will be of broad interest to both practitioners and researchers in theatre, performance studies, dance, ecocriticism, and the environmental humanities." Incipit

Contents
- List of figure
- Acknowledgements

- Introduction : Biogeocultography

1- Performative Taphonomy : Excavating and Exhuming the Past in Suzan-Lori Parks's "The America Play"
2- Staging Extraction : Peat's Vitality in Pina Bausch's "The Rite of Spring"
3- A Dirt "Pas De Deux" : Dirt, Skin, and "Transcorporeality" in Eveoke Dance Theater's "Las Mariposas"
4- Mycelium in Motion : Choreographing Care in Ivan-Daniel Espinosa's "Messagers Divinos"

Conclusion : Moving with the Trouble

Comprend aussi une annexe[-]

"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.[-]