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The Oxford Handbook of Dance and Theater

Inbunden, Engelska, 2015

AvNadine George-Graves,Nadine George-Graves,CA) George-Graves, Nadine (Professor of Theater and Dance, Professor of Theater and Dance, The University of California, San Diego, San Diego

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The Oxford Handbook of Dance and Theater collects a critical mass of border-crossing scholarship on the intersections of dance and theatre. Taking corporeality as an idea that unites the work of dance and theater scholars and artists, and embodiment as a negotiation of power dynamics with important stakes, these essays focus on the politics and poetics of the moving body in performance both on and off stage. Contemporary stage performances have sparked global interest in new experiments between dance and theater, and this volume situates this interest in its historical context by extensively investigating other such moments: from pagan mimes of late antiquity to early modern archives to Bolshevik Russia to post-Sandinista Nicaragua to Chinese opera on the international stage, to contemporary flash mobs and television dance contests. Ideologically, the essays investigate critical race theory, affect theory, cognitive science, historiography, dance dramaturgy, spatiality, gender, somatics, ritual, and biopolitics among other modes of inquiry. In terms of aesthetics, they examine many genres such as musical theater, contemporary dance, improvisation, experimental theater, television, African total theater, modern dance, new Indian dance theater aesthetics, philanthroproductions, Butoh, carnival, equestrian performance, tanztheater, Korean Talchum, Nazi Movement Choirs, Lindy Hop, Bomba, Caroline Masques, political demonstrations, and Hip Hop.The volume includes innovative essays from both young and seasoned scholars and scholar/practitioners who are working at the cutting edges of their fields. The handbook brings together essays that offer new insight into well-studied areas, challenge current knowledge, attend to neglected practices or moments in time, and that identify emergent themes. The overall result is a better understanding of the roles of dance and theater in the performative production of meaning.

Produktinformation

Utgivningsdatum2015-08-20
Mått180 x 254 x 63 mm
Vikt1 905 g
FormatInbunden
SpråkEngelska
SerieOxford Handbooks
Antal sidor1 052
FörlagOUP USA
ISBN9780199917495

Tillhör följande kategorier

Dansböcker inom Kultur
Teater inom Kultur
Övrig scenkonst inom Kultur
Referensverk och tvärvetenskap inom Samhälle och politik

Nadine George-Graves is Professor of Theater and Dance at the University of California, San Diego. She is the author of The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theater, 1900-1940 (2000) and Urban Bush Women: Twenty Years of Dance Theater, Community Engagement and Working It Out (2010) as well as numerous articles on American theater and dance.

Introduction ; 01. Nadine George-Graves: Magnetic Fields: Too Dance for Theater, Too Theater for Dance ; Section I: In Theory/In Practice ; 02. Ann Cooper Albright, Split Intimacies: Corporeality in Contemporary Theater and Dance ; 03. Anita Gonzalez, Negotiating Theatrics: Dialogues of the Working Man ; 04. VK Preston, "How do I touch this text?": Or, The Interdisciplines Between: Dance and Theatre in Early Modern Archives ; 05. Ray Miller, Dance Dramaturgy ; 06. Vida L. Midgelow, Some Fleshy Thinking: Improvisation, experience, perception ; Section II: Genus (part 1) ; 07. Maiya Murphy, Fleshing Out: Physical Theater, Postmodern Dance, and Som[e]agency ; 08. Stacy Wolf and Liza Gennaro, Dance in Musical Theatre ; 09. Colleen Dunagan, Dance and Theater: Looking at Television's Deployment of Theatricality Through Dance ; 10. Susan Leigh Foster, Why Not 'Improv Everywhere'? ; Section III: Genus (part 2) ; 11. Royd Climenhaga, A Theater of Bodily Presence: Pina Bausch and Tanztheater Wuppertal ; 12. Praise Zenenga, The Total Theater Aesthetic Paradigm in African Theater ; 13. Jane Baldwin, Jean Gascon's Theatricalist Approach to Moliere and Shakespeare ; 14. Marianne McDonald, Dancing Drama: Ancient Greek Theatre in Modern Shoes and Shows ; Section IV: Historiographical Presence and Absence ; 15. Ketu H. Katrak, The Post Natyam Collective: Innovating Indian Dance and Theatre, Abhinaya and Multimedia ; 16. Odai Johnson, Dancing for Dionysus in the Year of Years ; 17. Erika T. Lin, A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations ; 18. Esther Kim Lee, Designed Bodies: A Historiographical Study of Costume Design and Asian American Theatre ; 19. Ann Dils, Moving American History: An Examination of Works by Ken Burns and Bill T Jones ; Section V: Place, Space and Landscape ; 20. Amy Strahler Holzapfel, Landscape Between Dance and Theatre: Meredith Monk, The Wooster Group, and The TEAM ; 21. Anne Flynn and Lisa Doolittle, Colonial Theatrics in Canada: Managing Blackfoot Dance During Western Expansionism ; 22. Sally Ann Ness, A Slip on the Cables: Touristic Rituals and Landscape Performance in Yosemite National Park ; 23. Michael Morris, Orientations as Materializations: the Love Art Laboratory's Eco-Sexual Blue Wedding to the Sea ; Section VI: Affect, Somatics and Cognition ; 24. Petra Kuppers, Social Somatics and Interactive Performance: Touching Presence in Public ; 25. Amy Cook, Bodied Forth: A Cognitive Scientific Approach to Performance Analysis ; 26. Sondra Horton Fraleigh, Images of Love and Power: Butoh, Bausch, and Streb ; 27. Darcey Callison, Thoughts on the Discursive Imagery of Robert Lepage's Theatre ; Section VII: Unruly Bodies ; 28. Patrick Anderson, A Slender Pivot: Empathy, Public Space, and the Choreographic Imperative ; 29. Halifu Osumare, Conjuring Magic as Survival: Hip-Hop Theater and Dance ; 30. Thomas Postlewait, 'Court Wonder': The Performances of the 'Queen's Dwarf' in the Reign of Charles I ; 31. Krista Miranda, 'What do Women Want, My God, What do They Want?': Mimeses, Fantasy, and Female Sexuality in Ann Liv Young's Michael ; Section VIII: Biopolitics ; 32. Daphne P. Lei, Dance Your Opera, Mime Your Words: (Mis)translate the Chinese Body on the International Stage ; 33. E.J. Westlake, El Gueguence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing ; 34. Jade Power Sotomayor, From Soberao to Stage: Afro-Puerto Rican Bomba and the Speaking Body ; 35. William Givens. Lindy Hop, Community, and the Isolation of Appropriation ; Section IX: National Scales and Mass Movements ; 36. Sandy Peterson, Russian Mass Spectacle and the Bolshevik Regime ; 37. Marie Boyette, Movement Choirs and the Nazi Olympics ; 38. J.L. Murdoch, Talchum: Korea's masked folk dance-drama ; 39. Kim Marra, Circus Echoes: Dancing the Human-Equine Relationship Under the Millennial Big Top ; 40. Neal Hebert, Capitol City Camp: Gay Carnival and Capitalist Display ; Section X: Infection ; 41. Miriam Felton-Dansky, Borrowed Crowds: The Living Theatre's Contagious Revolution ; 42. Marlis Schweitzer, The Salome Epidemic: Degeneracy, Disease, and Race Suicide ; 43. Virginia Anderson, Choreographing a Cause: Broadway Bares as Philathroproduction and Embodied Index to Changing Attitudes Toward HIV/AIDS ; 44. Michael Lueger, Dance and the Plague: Epidemic Choreomania and Artaud

a substantial anthology ... The Handbook offers serious readers and important collection of new thinking on dance and theatre, that allows the reader to understand the richness and complexity of this area of performance ... the Handbook is important because it considers practice that are rarely analysed side by side, and so reveals new ways of looking at these dances. It is useful because it explicates acts that are sometimes puzzling because they are non-literal, often non-verbal and difficult to categorize. It remains interesting because of the great variety of voices given exposure and expression ... it is this great movement, vibrancy and colour that leaves a lasting impression.

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