標(biāo)題: Titlebook: Decentring Dancing Texts; The Challenge of Int Janet Lansdale (Emeritus Professor) Book 2008 Palgrave Macmillan, a division of Macmillan Pu [打印本頁(yè)] 作者: fallacy 時(shí)間: 2025-3-21 18:17
書目名稱Decentring Dancing Texts影響因子(影響力)
作者: 搖擺 時(shí)間: 2025-3-21 21:37 作者: Culpable 時(shí)間: 2025-3-22 03:59
,Unbalancing the Authentic/Partnering Classicism: Shobana Jeyasingh’s Choreography and the , ‘Tradityasingh and other choreographers experiment with Indian classical vocabularies and integrate themselves into the mainstream of British dance, an enduring Orientalism inflects the reception of their work. In reviews like Brown’s, the classical dance forms that serve as these artists’ point of departu作者: 懶惰人民 時(shí)間: 2025-3-22 04:47 作者: ADAGE 時(shí)間: 2025-3-22 09:20 作者: DEVIL 時(shí)間: 2025-3-22 13:07
,On the Premises of French Contemporary Dance: Concepts, Collectivity and ‘Trojan Horses’ in the Wor Pompidou, respectively. As I read a critique of Bel’s performance by Tim Etchells, the director of the British-based experimental performance ensemble Forced Entertainment, it became clear to me how culturally specific these works are, and that some contextualisation by someone ‘on the premises’ ma作者: DEVIL 時(shí)間: 2025-3-22 18:03 作者: 音的強(qiáng)弱 時(shí)間: 2025-3-22 23:03 作者: obeisance 時(shí)間: 2025-3-23 05:27
and the Politics of Transformation,ggest that the film is not about the dance. . focuses on a ballroom dance programme, initiated by a ballroom teacher, Pierre Dulaine, in 1994, for fifth grade children from New York City schools. Over 60 schools from Manhattan, Brooklyn, the Bronx and Queens participated in the ten-week course, whic作者: 有發(fā)明天才 時(shí)間: 2025-3-23 08:37 作者: Atrium 時(shí)間: 2025-3-23 12:31 作者: 現(xiàn)代 時(shí)間: 2025-3-23 17:17
https://doi.org/10.1057/9780230584426culture; dance; dancing; film; theatre; Tradition作者: 使顯得不重要 時(shí)間: 2025-3-23 18:00
978-1-349-36014-7Palgrave Macmillan, a division of Macmillan Publishers Limited 2008作者: 輕浮思想 時(shí)間: 2025-3-23 23:44
P. J. Lewi,J. Van Hoof,G. Calomme. was created in 1998 by the contemporary British choreographer Lea Anderson for her all-male group, The Featherstonehaughs.. The dance, 60 minutes long, was first performed in the 1998 Spring Loaded Festival, at the Place Theatre, London..作者: 疏忽 時(shí)間: 2025-3-24 05:55 作者: accrete 時(shí)間: 2025-3-24 09:23 作者: colony 時(shí)間: 2025-3-24 12:15
Harpies and Pyjamas: the Making of , (2003),There is no beginning.作者: 星星 時(shí)間: 2025-3-24 15:27
p with music, painting and play texts. This text attempts to fill a gap with an up-to-date account of exciting and challenging new work, illuminated by fascinating?new theoretical frameworks.978-1-349-36014-7978-0-230-58442-6作者: extrovert 時(shí)間: 2025-3-24 22:10
http://image.papertrans.cn/d/image/264157.jpg作者: debris 時(shí)間: 2025-3-25 02:28 作者: forager 時(shí)間: 2025-3-25 04:44 作者: 占線 時(shí)間: 2025-3-25 08:57 作者: 加強(qiáng)防衛(wèi) 時(shí)間: 2025-3-25 12:10 作者: Gorilla 時(shí)間: 2025-3-25 18:05 作者: 一條卷發(fā) 時(shí)間: 2025-3-25 22:32
The Method of Maximum Likelihood, Pompidou, respectively. As I read a critique of Bel’s performance by Tim Etchells, the director of the British-based experimental performance ensemble Forced Entertainment, it became clear to me how culturally specific these works are, and that some contextualisation by someone ‘on the premises’ ma作者: CYT 時(shí)間: 2025-3-26 01:07
The Method of Maximum Likelihood,ew of . (1978), by the Australian/British choreographer Ian Spink — a work shown in the first season of the then new company Second Stride. She describes vividly the works of Richard Alston and Siobhan Davies (Spinks’ partners in the venture) in terms of ‘lovely’ movement — for example, ‘the dancers作者: NAIVE 時(shí)間: 2025-3-26 06:24
Christine Lavit,Marie-Odile Pernind conventions of genres, languages and techniques. Since the late 1980s international dance critics have praised his inventive and creative work, his ‘highly original use of movement’ (Percival, 1992, p. 32), his fresh approach to composition (Mackrell, 1987), his ‘controlled, understated’ (Percival作者: 引導(dǎo) 時(shí)間: 2025-3-26 09:59
P. J. Lewi,G. Calomme,J. Van Hoofggest that the film is not about the dance. . focuses on a ballroom dance programme, initiated by a ballroom teacher, Pierre Dulaine, in 1994, for fifth grade children from New York City schools. Over 60 schools from Manhattan, Brooklyn, the Bronx and Queens participated in the ten-week course, whic作者: 圍巾 時(shí)間: 2025-3-26 15:56
Jugend und Beruf in beiden deutschen Staaten on a specific significance. The term denotes a number of synthesised musical styles that can be grouped together by shared characteristics, including a preference for cyclical repetition rather than linear narrative, a concentration on timbre and bass line rather than melody and harmony, and the us作者: 制定法律 時(shí)間: 2025-3-26 20:14 作者: 我沒有強(qiáng)迫 時(shí)間: 2025-3-26 23:22
,Chasing Voices: Ian Spink’s Dancing , (1988), seem to be musing with their bodies’, the style is ‘overwhelmingly gentle’, the movement is full of ‘gently surprising shifts’ (1978, p. 16) — all ways of talking about an abstract concern with movement that borders on the minimalist. But when she speaks of Spink’s work she says:作者: Eclampsia 時(shí)間: 2025-3-27 04:40
,Jonathan Burrows and Matteo Fargion’s , (2002): A Discursive Choreomusical Collaboration,, 1988, n.p.) and ‘uncompromising’ (Crisp, 1996, p. 15) performances and the humour and ‘obliqueness’ (Dunning, 2004, n.p.) of his unconventional and charmingly enigmatic pieces. Yet the scholarship to date is meagre and fragmentary, lacking detailed analysis of the themes, qualities and methods underlying his dances.作者: 引水渠 時(shí)間: 2025-3-27 06:11
p with music, painting and play texts. This text attempts to fill a gap with an up-to-date account of exciting and challenging new work, illuminated by fascinating?new theoretical frameworks.978-1-349-36014-7978-0-230-58442-6作者: vitreous-humor 時(shí)間: 2025-3-27 10:42 作者: 色情 時(shí)間: 2025-3-27 13:39 作者: 鍍金 時(shí)間: 2025-3-27 18:22 作者: 是他笨 時(shí)間: 2025-3-27 22:09 作者: 過份 時(shí)間: 2025-3-28 04:58 作者: 我要沮喪 時(shí)間: 2025-3-28 06:47
,On the Premises of French Contemporary Dance: Concepts, Collectivity and ‘Trojan Horses’ in the Wore Forced Entertainment, it became clear to me how culturally specific these works are, and that some contextualisation by someone ‘on the premises’ may be in order. A resident of France for the better part of 20 years, I would like to offer this.作者: GRATE 時(shí)間: 2025-3-28 11:37 作者: 去掉 時(shí)間: 2025-3-28 15:23 作者: reception 時(shí)間: 2025-3-28 20:50
Christine Lavit,Marie-Odile Pernin, 1988, n.p.) and ‘uncompromising’ (Crisp, 1996, p. 15) performances and the humour and ‘obliqueness’ (Dunning, 2004, n.p.) of his unconventional and charmingly enigmatic pieces. Yet the scholarship to date is meagre and fragmentary, lacking detailed analysis of the themes, qualities and methods underlying his dances.作者: PACK 時(shí)間: 2025-3-28 23:37 作者: MEN 時(shí)間: 2025-3-29 04:41
