"(...) explores the multifaceted learning processes and underlying principles behind the technical skills and abilities of a contemporary dancer. The depth and complexity of this challenging sensorial, intellectual, reflective and creative process is presented with clarity, to support every training dancer in achieving the most from their learning experiences.
Insights into three major technical forms - Graham technique, Cunningham technique and Release-based technique - reveal the distinct approaches, processes and experences possible in contemporary dance training. Esential technical and performance considerations are covered, including: breath, alignment, core activation, connectivity, dynamic qualities of motion, use of the body, use of space, action, [and] relationships to the audience. (...)"-- P. [4] de la couv.

Comprend une bibliographie et des notes bibliographiques.
Comprend un index.[-]

" Dance is an art form that places great stress on the performer.s body. The main emphasis of the dancer's training is on skill acquisition which has resulted in dancers having poor physical conditioning and prone to chronic injury. The purpose of this book was to examine contemporary dance from an applied sport science perspective through a series of connected studies. The initial study examined the dancers? perceptions of the physical demands of contemporary dance; this was followed an observational study that investigated the cardiorespiratory demands of dance class, rehearsal and performance. The next two studies examined the heart rate ? oxygen consumption relationships during incremental treadmill work and dance exercise, and the development of a field-based aerobic fitness test. The final study, utilising the developed fitness test, monitored changes in aerobic fitness of two dance companies during a class and performance period that reflected on the observed results from the second study." 4e de couverture


Contents

1- Introduction
1.1 Introduction
1.2 The development and history of Contemporary and Modern Dance
* 1.2.1 Characteristics of moderndance and how it differs from classique ballet
* 1.2.2 The Early Stages
* 1.2.3 The development of the Techniques
* 1.2.4 Graham
* 1.2.5 Cunningham
* 1.2.6 Limón
* 1.2.7 Post Modernism
* 1.2.8 Modern dance within United Kingdom
1.3 Reasons for the research
* 1.3.1 Previous research summary
* 1.3.2 Research Aims

2- Literature Review
2.1 Dancers' Training
* 2.1.1 Introduction
* 2.1.2 Energy Cost of class
* 2.1.3 Energy Cost of different dance styles
* 2.1.4 Energy cost of rehearsal
* 2.1.5 Energy cost of dance performance
* 2.1.6 Summary
2.2 Dancer's fitness
* 2.2.1 Introduction
* 2.2.2 Aerobic component
* 2.2.3 Anaerobic Capacity
* 2.2.4 Summary
2.3 Exercise physiology applied to dance
* 2.3.1 Introduction
* 2.3.2 Energy Systems
* 2.3.3 The Anaerobic Systems
* 2.3.4 The aerobic System
2.4 Energy system utilization
* 2.4.1 Energy systems of repetitive high intensity exercise
* 2.4.2 Recovery
* 2.4.3 Energy System Recovery Rates
* 2.4.4 REcovery after high intensity short duration exercise
* 2.4.5 Fatigue

3- Qualitive examination of dancers' perceptions of the physiological requirements of contemporary dance
3.1 Abstract
3.2 Introduction
* 3.2.1 Resaerch Aims
3.3 Interviews
* 3.3.1 Methodology
* 3.3.2 Subjects
* 3.3.3 Analysis and Discussion
* 3.3.4 Class
* 3.3.5 Rehearsals
* 3.3.6 Performance
* 3.3.7 Fitness
* 3.3.8 Summary
3.4 Performance Profiling
* 3.4.1 Methodology
* 3.4.2 Subjects
* 3.4.3 Analysis and Discussion
* 3.4.4 Health
* 3.4.5 Physical
* 3.4.6 Trainning
* 3.4.7 Kinesiology
* 3.4.8 Summary
3.5 Physiology Terminology Questionnaire
* 3.5.1 Methodology
* 3.5.2 Subjects
* 3.5.3 Analysis and Discussion
* 3.5.4 Summary
3.6 Chapter Conclusion

4- Cardiorespiratory requi8rements of class, rehearsal and performance
4.1 Abstract
4.2 Introduction
* 4.2.1 Aims
4.3 Method
* 4.3.1 Protocol
* 4.3.2 Gas data analysis
* 4.3.3 Video data analysis
* 4.3.4 Subjects
* 4.3.5 Statistical Analysis
4.4 Results
* 4.4.1 Class
* 4.4.2 Rehearsal
* 4.4.3 Performance
* 4.4.4 Class vs. Rehearsal vs. Performance
* 4.4.5 Analysis of class, rehearsal and performance as arobic capacity stimuli
4.5 Discussion
* 4.5.1 Class
* 4.5.2 Rehearsal
* 4.5.3 Performance
* 4.5.4 Class vs. Rehearsal vs. Performance
* 4.5.5 Physiological training stresses with class, rehearsal and performance
4.6 Limitations
4.7 Conclusion

5- The validity of using heart rate as a predictor of oxygen consumption in dance : the relationship between progressive worload weight-bearing exercise and dance
5.1 Abstract
5.2 Introduction
* 5.2.1 Aims
* 5.2.2 Null hypotheses
5.3 Method
* 5.3.1 Subjects
* 5.3.2 Protocols
* 5.3.3 Statistical Analysis
5.4 Results
* 5.4.1 Group-wise analysis
* 5.4.2 Individual analysis
5.5 Discussion
5.6 Limitations
5.7 Conclusion

6- Development of a dance specific aerobic fitness test
6.1 Abstract
6.2 Introduction
* 6.2.1 Aims
* 6.2.2 Null hypotheses
6.3 Method
* 6.3.1 Development of the test
* 6.3.2 Reliablility, validity and HR-V O2 analysis Female
* 6.3.3 Statistical Analysis
6.4 Results
* 6.4.1 Test stage data
* 6.4.2 Test Reliability
* 6.4.3 Hr-V O2 relationship and prediction of maximal aerobic power
6.5 Discussion
6.6 Limitations
6.7 Conclusion

7- The physiological monitoring of cardiorespiratory adaptations during rehearsal and performance of contemporary dance
7.1 Abstract
7.2 Introduction
* 7.2.1 Aims
* 7.2.2 Null hypotheses
7.3 Method
* 7.3.1 Subjects
* 7.3.2 Protocol
* 7.3.3 Test Sequence
* 7.3.4 Statistical analysis
7.4 Results
7.5 Discussion
7.6 Limitations
7.7 Conclusion

8- Summary of studies

9- Bibliography
Appendix
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