標題: Titlebook: Choreography and Corporeality; Relay in Motion Thomas F. DeFrantz,Philipa Rothfield Book 2016 The Editor(s) (if applicable) and The Author( [打印本頁] 作者: 和尚吃肉片 時間: 2025-3-21 19:39
書目名稱Choreography and Corporeality影響因子(影響力)
書目名稱Choreography and Corporeality影響因子(影響力)學(xué)科排名
書目名稱Choreography and Corporeality網(wǎng)絡(luò)公開度
書目名稱Choreography and Corporeality網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Choreography and Corporeality被引頻次
書目名稱Choreography and Corporeality被引頻次學(xué)科排名
書目名稱Choreography and Corporeality年度引用
書目名稱Choreography and Corporeality年度引用學(xué)科排名
書目名稱Choreography and Corporeality讀者反饋
書目名稱Choreography and Corporeality讀者反饋學(xué)科排名
作者: CBC471 時間: 2025-3-21 20:45 作者: Aspirin 時間: 2025-3-22 01:50
New World Choreographieshttp://image.papertrans.cn/c/image/226203.jpg作者: 逃避現(xiàn)實 時間: 2025-3-22 04:39
https://doi.org/10.1007/978-3-658-22499-8elay shakes up the notion of theory and practice, opening up both terms to a sense of an encounter between bodies. This may be fleshed out in terms of an encounter between the reader and the text; between the audience and a dance work, and between dance works and practices found in multiple location作者: CAGE 時間: 2025-3-22 08:58 作者: 驕傲 時間: 2025-3-22 16:02
Weiterentwicklung des Konzepts,a, by preserving the power of the modern subject as author who desires the Other as material for her/his product. Discussing Western ethnocentric ethics of ‘generosity’ in relation to Jerome Bel’s work, I examine the possibility of an alternative conception of choreographic practice based on Tim Ing作者: 驕傲 時間: 2025-3-22 17:54
Weiterentwicklung des Konzepts,y Jan Urbanowski and costumes by Stevie Stewart, which premiered at the . festival at Sadler’s Wells, London, in 2009. Taking note of the mesmerising effects created on Proietto’s body as he turned in circles and spirals under Urbanowski’s expanding and shrinking nocturnal imagery, the chapter consi作者: 易于 時間: 2025-3-22 22:37 作者: Adulate 時間: 2025-3-23 03:12
Xenophobie im internationalen Vergleichitain in 1982, then extended to sites such as the United States, France, the Soviet Union, Germany, and China. Although using a similar terminology to the Festival of India, Dance Umbrella began in 1978 as a showcase of independent performance, initially centred on a single, small-scale venue. Only 作者: dilute 時間: 2025-3-23 09:07
https://doi.org/10.1007/978-3-322-97077-0of Phnom Penh-based Amrita Performing Arts Group. Through my observations, I argue that contemporary dance might be defined or explained by the creative use of a single element of rhythm in choreographic processes. By isolating and scrutinising the element of rhythm and highlighting how this specifi作者: 愚蠢人 時間: 2025-3-23 11:02
Roland Eckert,Helmut Willems,Stefanie Würtzhis sense, about embodying interaction. This chapter is focused on analysing the experiences of dancing recreational Argentinean tango and elite sports dance, respectively. The aim is to specifically explore how these cases of dancing together might expand and possibly challenge phenomenological des作者: 不要不誠實 時間: 2025-3-23 15:51
Renate M?ller,Wilhelm Heitmeyerions. This leads to a growing interest in cultural resource that would bring in locally, regionally, or even nationally specific artifacts. In the European context, Africa seems to have received special attention in this ongoing quest. The essay takes a close look at a recently developed artistic en作者: MITE 時間: 2025-3-23 18:40
https://doi.org/10.1007/978-3-322-94201-2ce certain difficult social phenomena constellate and become shared at an affective bodily level. Investigating the kinds of identifications and experiences activated by dance performance, this chapter considers how negative affect and failure may be critically productive in dance practice and in th作者: conscribe 時間: 2025-3-24 01:13
Wolfgang Kowalsky,Wolfgang Schroederor to be moved in this sense implies an urge towards creative thinking instead of mere cognitive recognition. This chapter reads Deleuze’s lines as an invitation to think his philosophy in relation to the art of dancing, to investigate how the aesthetic of intensities at work in contemporary dance p作者: 前奏曲 時間: 2025-3-24 06:02 作者: RUPT 時間: 2025-3-24 08:54 作者: configuration 時間: 2025-3-24 12:48 作者: 針葉類的樹 時間: 2025-3-24 17:59 作者: BOAST 時間: 2025-3-24 21:48 作者: 平息 時間: 2025-3-25 02:45
Relay: Choreography and Corporeality,elay shakes up the notion of theory and practice, opening up both terms to a sense of an encounter between bodies. This may be fleshed out in terms of an encounter between the reader and the text; between the audience and a dance work, and between dance works and practices found in multiple location作者: 純樸 時間: 2025-3-25 04:47 作者: 假設(shè) 時間: 2025-3-25 09:44
Choreography as Meshwork: The Production of Motion and the Vernaculara, by preserving the power of the modern subject as author who desires the Other as material for her/his product. Discussing Western ethnocentric ethics of ‘generosity’ in relation to Jerome Bel’s work, I examine the possibility of an alternative conception of choreographic practice based on Tim Ing作者: 清楚 時間: 2025-3-25 15:37 作者: Abrade 時間: 2025-3-25 17:33 作者: 博識 時間: 2025-3-25 20:16
Festivals and Local Identities in a Global Economy: The Festival of India and Dance Umbrellaitain in 1982, then extended to sites such as the United States, France, the Soviet Union, Germany, and China. Although using a similar terminology to the Festival of India, Dance Umbrella began in 1978 as a showcase of independent performance, initially centred on a single, small-scale venue. Only 作者: gentle 時間: 2025-3-26 00:27 作者: 尖酸一點 時間: 2025-3-26 06:32 作者: 打火石 時間: 2025-3-26 08:49
Speaking Africa, ,: A German–C?te d’Ivoire Performing Arts Dialogueions. This leads to a growing interest in cultural resource that would bring in locally, regionally, or even nationally specific artifacts. In the European context, Africa seems to have received special attention in this ongoing quest. The essay takes a close look at a recently developed artistic en作者: Liability 時間: 2025-3-26 13:20 作者: 令人悲傷 時間: 2025-3-26 19:22
Dancing and Thinking Politics with Deleuze and Rancière: Performing Hesitant Gestures of the Unknownor to be moved in this sense implies an urge towards creative thinking instead of mere cognitive recognition. This chapter reads Deleuze’s lines as an invitation to think his philosophy in relation to the art of dancing, to investigate how the aesthetic of intensities at work in contemporary dance p作者: 聾子 時間: 2025-3-26 23:25
Dancing the Downward Slide: Spaces of Affective Adjacency in , and , ,f an alternative structure of feeling and an alternative economy of the body can be experienced. Focusing on the choreographic use of repetition in Junk Ensemble’s . (2011) and Fabulous Beast Dance Theatre’s . (2011), it shows how the work required to build an alternative affective space can become 作者: 圍裙 時間: 2025-3-27 02:08
Afrofuturist Remains: A Speculative Rendering of Social Dance Futures v2.0, that might align the applied science of the physical within the social, as a doing enlivened by a being? If African American social dancing situates as a local present that animates memories of deep compassion, where are its unknowable future circumstances most likely to produce a social ., of som作者: 痛恨 時間: 2025-3-27 06:16 作者: endocardium 時間: 2025-3-27 12:57
Corporeal Memories: A Historian’s Practicerly age, which means that practitioners often create a sense of the past of the art form from an ‘oral history’, comprising narratives told by teachers and colleagues as well as events and encounters. As a historian, I suggest that obligatory history classes should integrate the practical interests 作者: Overstate 時間: 2025-3-27 15:44 作者: BLOT 時間: 2025-3-27 17:59
Book 2016ed scholars show how dance can challenge our thoughts and feelings about our own and other cultures, our emotions and prejudices, and our sense of public and private space. In so doing, they offer a multi-layered response to ideas of affect and emotion, culture and politics, and ultimately, the plac作者: CREST 時間: 2025-3-27 22:47
Renate M?ller,Wilhelm Heitmeyerout postcolonial discourse, the group . brings together German producers, Ivory Coast performers, high-culture recognition, and ‘Africa is the Future’ innuendos. In the group’s work, movement and meaning step beside the disenchanted modes of presentation of ‘Otherness’ often found in European arts circuits.作者: indigenous 時間: 2025-3-28 05:04 作者: Critical 時間: 2025-3-28 09:17 作者: Nonporous 時間: 2025-3-28 11:49
Afrofuturist Remains: A Speculative Rendering of Social Dance Futures v2.0ancipated dance of communion that can be entirely mediated and digitally exchanged. The essay argues for afrofuturist remains that are pre-, pure-, and post-human iterations of corporeal connectivity: dance born of a belief in the social essence of creativity.作者: pericardium 時間: 2025-3-28 17:50 作者: 能夠支付 時間: 2025-3-28 20:54 作者: Kernel 時間: 2025-3-28 22:59 作者: Pantry 時間: 2025-3-29 03:21 作者: enchant 時間: 2025-3-29 07:35
Festivals and Local Identities in a Global Economy: The Festival of India and Dance UmbrellaI suggest that festival programming engages with three related histories: the relationship between scholarship, cultural tourism, and imperial display; the construction of national identities; and the relationship of dance to diplomacy.作者: 愉快么 時間: 2025-3-29 11:41 作者: crescendo 時間: 2025-3-29 19:10
Dancing and Thinking Politics with Deleuze and Rancière: Performing Hesitant Gestures of the Unknownough featuring older bodies, Kozyra’s work offers a very different experience for the spectator. In so doing, it enables a politicised aesthetic experience in Rancière’s terms, able to challenge normative conceptions of agency and ageing.作者: 邊緣 時間: 2025-3-29 19:57
Discipline and Asian American Dance of bodily and intellectual disciplining that are at work in producing an interdisciplinary dance analysis not as a singular product, but a series of overlapping and simultaneous tasks that serve different institutional purposes and disciplinary investments.作者: 綁架 時間: 2025-3-30 03:04
Book 2016all, Gilles Deleuze, Jacques Derrida, Rancière and Luce Irigaray as well as their forebears such as Spinoza, Plato and Freud. Taken together,?.Choreography and Corporeality: RELAY in Motion.?puts thought into motion, without forgetting its origins in the social world..作者: 畸形 時間: 2025-3-30 05:29 作者: Exclude 時間: 2025-3-30 08:22
Tinkering Away: The Untimely Art of Subtractiontext nor depends upon representation as such? This chapter poses three ways of conceiving of subtraction within dance, in relation to the canonical, choreographic production and the audience-performer relation. It argues that the notion of subtraction offers a particular way of conceiving of the pro作者: 斗志 時間: 2025-3-30 16:03 作者: COMA 時間: 2025-3-30 17:35
Flickering Photology: Turning Bodies and Textures of Lightter argues that . creates a flickering ‘photology’ or knowledge of light in which there is not only a relay from Maliphant’s work to optical experiments in early modern dance and visual art, but also a relay from those practices to phenomenological theory, especially as that has been developed by Me作者: Anticoagulant 時間: 2025-3-30 23:35
Caribbean Dance: British Perspectives and the Choreography of Beverley Gleanof the 1980s and formed a dominant discourse, could not make sense of the dance company, IRIE!, and blurred the boundaries between its notional templates of what ‘traditional’ or ‘modern’ dance by people of non-Western heritage should look like. The chapter looks to Thomas DeFrantz’s concept of corp作者: ureter 時間: 2025-3-31 04:05 作者: Comedienne 時間: 2025-3-31 06:42 作者: 沉著 時間: 2025-3-31 12:40 作者: 莎草 時間: 2025-3-31 14:36
Corporeal Memories: A Historian’s Practicearn: to question beliefs and aspects of their practice they have thus far taken for granted. For the teacher, this principle requires openness about our (institutional) positions of power, both restrictions imposed by curricular demands and our cherished canons of art. In this paper, I address some
