"(...) 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.[-]

"When Robin Howard saw the Martha Graham Dance Company at their first London appearance in 1954 he was ‘bowled over as he had been by no other theatrical experience'. For him it was the beginning of a passion and a vision that did indeed change the face of British dance, although it held enormous sacrifices for him along the way.

In 1966 The London School of Contemporary Dance, as it was originally called, started modestly, in a one-studio premises down a cul-de-sac in London's West End. It was the first in Europe to be authorised to teach the Graham technique, opening new horizons in British dance, and it was the star performer and teacher from Martha Graham's school and company, Robert Cohan, who presided over the fledgling School.

This account is the first to trace the journey of Howard's pioneering enterprise which has had such far-reaching effects. In 1969 London Contemporary Dance School moved to its new and much-expanded home, The Place, in Euston, and 2019 marks 50 years since its arrival. Howard's vision has produced an abundance of dancers, choreographers, and teachers. It continues to inspire new generations of dancers and students in the ever-changing world of contemporary dance, and this account hears from those who have inspired and been inspired during those 50 turbulent, precarious, pioneering and adventurous years."--P.[4] de la couv.

Comprend une bibliographie et des notes bibliographiques à la fin de chapitres.
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
[-]