標(biāo)題: Titlebook: Dance Matters in Ireland; Contemporary Dance P Aoife McGrath,Emma Meehan Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 con [打印本頁] 作者: dabble 時(shí)間: 2025-3-21 19:49
書目名稱Dance Matters in Ireland影響因子(影響力)
書目名稱Dance Matters in Ireland影響因子(影響力)學(xué)科排名
書目名稱Dance Matters in Ireland網(wǎng)絡(luò)公開度
書目名稱Dance Matters in Ireland網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Dance Matters in Ireland被引頻次
書目名稱Dance Matters in Ireland被引頻次學(xué)科排名
書目名稱Dance Matters in Ireland年度引用
書目名稱Dance Matters in Ireland年度引用學(xué)科排名
書目名稱Dance Matters in Ireland讀者反饋
書目名稱Dance Matters in Ireland讀者反饋學(xué)科排名
作者: 菊花 時(shí)間: 2025-3-21 23:12
https://doi.org/10.1007/978-3-319-66739-3contemporary dance; Irish theatre and performance; dance practitioners; choreography; Irish culture and 作者: clarify 時(shí)間: 2025-3-22 01:03 作者: 萬神殿 時(shí)間: 2025-3-22 04:52 作者: 即席演說 時(shí)間: 2025-3-22 11:27
http://image.papertrans.cn/d/image/260354.jpg作者: hazard 時(shí)間: 2025-3-22 13:42
https://doi.org/10.1007/978-88-470-0694-2ry dance practices. The volume provides a timely affirmation that the critical study of dance, choreography, and movement practices, historically neglected and chronically under-researched in Ireland, does indeed matter, and that it can provide valuable insight into the intersections of the corporea作者: hazard 時(shí)間: 2025-3-22 19:01
Cavità nasali e seni paranasalie-funded contemporary dance company in Ireland that ran from 1979–1989. Despite the important role that DCDT played in developing contemporary dance in an Irish context, very little has been researched or written about their work to date. One key aim of this project is to examine the knowledge revea作者: 注入 時(shí)間: 2025-3-23 00:37 作者: 魅力 時(shí)間: 2025-3-23 03:13 作者: 不自然 時(shí)間: 2025-3-23 07:57 作者: prosperity 時(shí)間: 2025-3-23 11:00 作者: debris 時(shí)間: 2025-3-23 16:09
Atlantic Afterlives in Contemporary Fiction day, citing notable developments that have effected a marked change in perceptions and attitudes surrounding choreographic practices and processes both within and beyond Ireland. Spanning over twenty years of dance culture in Ireland, the writing reflects on notable developments within formal train作者: 整潔漂亮 時(shí)間: 2025-3-23 18:30
Atlantic Afterlives in Contemporary Fiction by charting the author’s experience as a dance lecturer in both contexts. This includes a discussion on the impact that the absence of an institutional professional-level dance training programme in Ireland may have had on Irish contemporary and/or ballet dancers and the dance sector at large in th作者: limber 時(shí)間: 2025-3-23 23:00
An Island in the Center of Its Hinterlandbrace has been particularly evident with numerous screendance artists creating works specifically for the gallery using multiscreen arrangements. ., is a collection of two essays formed from the experience of creating ., a multiscreen film that draws attention to the qualities of movement embodied b作者: Precursor 時(shí)間: 2025-3-24 03:26
An Island in the Center of Its Hinterlandyears. Reflections on specific aspects of this practice give rise to broader thematic strands which are considered through engagement with theoretical perspectives selectively borrowed from a number of disciplinary fields. Rather than conducting an in-depth examination of any one of these emergent t作者: deceive 時(shí)間: 2025-3-24 06:46
The Perfect Storm and the Turning Pointhe Irish countryside, the second describes the use of the ancient Irish language of Ogham in a site-specific choreography, and the third is about growing up in Kent, England. The three strands compose a contemporary kenning—a way to say something poetically, which also casts a space of the unsaid/un作者: FLIP 時(shí)間: 2025-3-24 12:31 作者: AXIOM 時(shí)間: 2025-3-24 18:50 作者: optic-nerve 時(shí)間: 2025-3-24 22:20
On Peregrine Collaborations—Cindy Cummings’ Choreography of ,: Woman, Disorientation, Displacementhnaill. The premise is that Cummings, as peregrine or resident alien in Ireland, brought a unique perspective to approaches of collaborative transdisciplinary creative processes that supported the three artists probe representations of women in Ireland. Applying Peggy Phelan’s thesis that the image 作者: 梯田 時(shí)間: 2025-3-25 00:23
Bodied Stories and Storied Bodies in Contemporary Irish Performanceries are performed in the cultural repertoire beyond the linear or literary narrative that dominates Irish performance. These companies demonstrate the suppleness and power of performance to retell devastating histories and violent proclivities in myriad forms. The attention to movement and the use 作者: Fecundity 時(shí)間: 2025-3-25 07:06 作者: OVERT 時(shí)間: 2025-3-25 10:56
The Language of Affect in Choreographic Practice: Conversations on the Making of ,cus in this paper is on the circulation of affect in the in-between of dancing and reflecting on the choreographic process. Drawing on Margaret Wetherell’s understanding of affect as a practice of ‘embodied meaning making’, she suggests that choreographic composition is a type of affective practice 作者: ALTER 時(shí)間: 2025-3-25 15:34 作者: 狂熱語言 時(shí)間: 2025-3-25 17:06
Dancing, Identity and Place: Balancing Subjectivity and Technique in Contemporary Dance Training by charting the author’s experience as a dance lecturer in both contexts. This includes a discussion on the impact that the absence of an institutional professional-level dance training programme in Ireland may have had on Irish contemporary and/or ballet dancers and the dance sector at large in th作者: WAG 時(shí)間: 2025-3-25 23:22
(Per)forming the Triptych / Two Voices from a Work: ,brace has been particularly evident with numerous screendance artists creating works specifically for the gallery using multiscreen arrangements. ., is a collection of two essays formed from the experience of creating ., a multiscreen film that draws attention to the qualities of movement embodied b作者: 驚惶 時(shí)間: 2025-3-26 02:58
A Gallery of Hanging Thoughts: Reflections on a Choreographic Practice (12 Frames)years. Reflections on specific aspects of this practice give rise to broader thematic strands which are considered through engagement with theoretical perspectives selectively borrowed from a number of disciplinary fields. Rather than conducting an in-depth examination of any one of these emergent t作者: Synovial-Fluid 時(shí)間: 2025-3-26 08:14
The Kenninghe Irish countryside, the second describes the use of the ancient Irish language of Ogham in a site-specific choreography, and the third is about growing up in Kent, England. The three strands compose a contemporary kenning—a way to say something poetically, which also casts a space of the unsaid/un作者: SMART 時(shí)間: 2025-3-26 10:59 作者: CHECK 時(shí)間: 2025-3-26 15:26 作者: Rotator-Cuff 時(shí)間: 2025-3-26 17:23
Bodied Stories and Storied Bodies in Contemporary Irish Performanceof choreography find an expressive mode that has not been easily accessible in traditional dramatic forms.?They reassemble the unsaid and unsayable through the languages of performance, keeping us alive to the stories but also to the questions of how and what stories are told, and by whom and to what end.作者: Gustatory 時(shí)間: 2025-3-26 23:46
The Language of Affect in Choreographic Practice: Conversations on the Making of ,that involves the process of embodied engagement with sense and sensibility. She contends that through a close analysis of the language used by choreographers we can study the role of affect in choreographic practice. This idea is an effort at identifying how choreographers make use of affective experiences in the process of dance composition.作者: Ballerina 時(shí)間: 2025-3-27 02:37
Dancing, Identity and Place: Balancing Subjectivity and Technique in Contemporary Dance Trainingis country. Somatic approaches are outlined as a teaching tool to support the autonomous development of the student and engage with the complexities of training for the current professional dance climate. The chapter concludes by questioning the kind of dancing traits a professional-level dance training programme situated in Ireland might produce.作者: 因無茶而冷淡 時(shí)間: 2025-3-27 06:13 作者: 是突襲 時(shí)間: 2025-3-27 11:18
The Kenningsayable. Crafted as a series of elliptical scenes, these three narrative threads entwine thematically, somatically and locatedly, forming multiple and resonant connections, in particular between ancient and contemporary worlds, between an English childhood, an ancient Irish language, and choreography.作者: 要控制 時(shí)間: 2025-3-27 16:47 作者: assent 時(shí)間: 2025-3-27 18:41
Fegato (inclusi dotti biliari intraepatici)orientates the relationship between viewer and image. Cummings’ agency in the image invites instead a ‘dialogic mode of vision’ (Mieke Bal) between viewer and image that displaces essentialist connotations of woman and nature.作者: 收集 時(shí)間: 2025-3-27 23:31
Cavità nasali e seni paranasaliduce a questioning of usual patterns of viewing for the spectator, provoking a heightened awareness, and potential rethinking, of how Irish society diminishes women’s ‘power of activity’ by restricting their capacity for corporeal autonomy and choice (Spinoza in Spinoza: the complete works. Hackett Publishing, Cambridge, p. 258, .).作者: Myocyte 時(shí)間: 2025-3-28 04:45
Atlantic Afterlives in Contemporary Fictionng considers how transdisciplinary research practices in dance have significantly shifted moving bodies beyond aesthetic-bound stage production to continue to expand and challenge definitions of art, politics and place through Irish contemporary dance culture.作者: aggravate 時(shí)間: 2025-3-28 09:53
An Island in the Center of Its Hinterland as an artist. The intention is for the frames, in this gallery of hanging thoughts, to function variously as windows and/or mirrors and in so doing to provide insights into, or prompt reflections on, specific aspect of choreographic processes, her own and others.作者: Aggregate 時(shí)間: 2025-3-28 11:04 作者: NIP 時(shí)間: 2025-3-28 17:55
On Peregrine Collaborations—Cindy Cummings’ Choreography of ,: Woman, Disorientation, Displacementorientates the relationship between viewer and image. Cummings’ agency in the image invites instead a ‘dialogic mode of vision’ (Mieke Bal) between viewer and image that displaces essentialist connotations of woman and nature.作者: SEMI 時(shí)間: 2025-3-28 19:22
Discomforting/Disarming Touch: Experiencing Affective Contradiction in Improvisatory Dance Performanduce a questioning of usual patterns of viewing for the spectator, provoking a heightened awareness, and potential rethinking, of how Irish society diminishes women’s ‘power of activity’ by restricting their capacity for corporeal autonomy and choice (Spinoza in Spinoza: the complete works. Hackett Publishing, Cambridge, p. 258, .).作者: 玩笑 時(shí)間: 2025-3-29 02:19 作者: 無目標(biāo) 時(shí)間: 2025-3-29 03:18
A Gallery of Hanging Thoughts: Reflections on a Choreographic Practice (12 Frames) as an artist. The intention is for the frames, in this gallery of hanging thoughts, to function variously as windows and/or mirrors and in so doing to provide insights into, or prompt reflections on, specific aspect of choreographic processes, her own and others.作者: Albinism 時(shí)間: 2025-3-29 07:25 作者: 從屬 時(shí)間: 2025-3-29 11:32
https://doi.org/10.1007/978-88-470-0694-2of choreography find an expressive mode that has not been easily accessible in traditional dramatic forms.?They reassemble the unsaid and unsayable through the languages of performance, keeping us alive to the stories but also to the questions of how and what stories are told, and by whom and to what end.作者: Uncultured 時(shí)間: 2025-3-29 16:53 作者: vibrant 時(shí)間: 2025-3-29 22:19 作者: 狼群 時(shí)間: 2025-3-30 02:01 作者: allergen 時(shí)間: 2025-3-30 06:19
The Perfect Storm and the Turning Pointsayable. Crafted as a series of elliptical scenes, these three narrative threads entwine thematically, somatically and locatedly, forming multiple and resonant connections, in particular between ancient and contemporary worlds, between an English childhood, an ancient Irish language, and choreography.
