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New German Dance Studies
Susan Manning is a professor of English, theater, and performance studies at Northwestern University and the author of Ecstasy and the Demon: The Dances of Mary Wigman. Book jacket.
Dance and British Literature: An Intermedial Encounter
Dance and literature seem to have much in common. Both are part of a culture, represent a culture, and subvert a culture. Yet at the same time, they appear to be medial antagonists: one is kinetic and multimedial, the other (often) verbal and seemingly mono-medial. What happens, however, when both meet; when movement is integrated into the literary world or even replaces verbal communication? Dance is artistic and popular, traditional and innovative, bodily and ephemeral. It holds cultural and kinetic information in a nutshell and thus brings movement and cultural history into a text. Shakespeare’s plays, Restoration comedy, 19th century caricature, popular and elitist theatre, all make use of dance as special means of signification. Thus, this study explores dance in British literature from Shakespeare to Yeats, and illustrates the many ways in which these two forms of artistic expression can enter into various kinds of intermedial encounters and cultural alliances.
Nijinsky's Feeling Mind
Nijinsky's Feeling Mind: The Dancer Writes, The Writer Dances is the first in-depth literary study of Vaslav Nijinsky's life-writing. Through close textual analysis combined with intellectual biography and literary theory, Nicole Svobodny puts the spotlight on Nijinsky as reader. She elucidates Nijinsky's riffs on Tolstoy, Dostoevsky, and Nietzsche, equating these intertextual connections to "marking" a dance, whereby the dancer uses a reduction strategy situated between thinking and doing. By exploring the intersections of bodily movement with verbal language, this book addresses broader questions of how we sense and make sense of our worlds. Drawing on archival research, along with studies...
Materialities in Dance and Performance
What is »materiality« in dance and performance? What role does »the material« play in the formation for the cultural memory of ephemeral arts? The contributors to this volume examine concepts of materiality in dance and performance, the use of materials in artistic practices and the role of social media in changing the perception of time-based artefacts. The volume shows how the focus on materiality transforms contemporary artistic work and challenges established concepts of dance and performance research.
Tanz & Archiv: Heft 3: Historiografie
ForschungsReisen plädieren wir – vielleicht unzeitgemäß – für das kontemplative Promenieren, das Wahrnehmen von den äußeren Räumen des Archivs und den inneren Räumen der Texte. Über die gegenseitige Spiegelung wird die komplexe Struktur multimedialer Überformungen deutlich, in der sich die Stätte und der Akt des Hervorbringens von Wissen gegenseitig bedingen. Wir verweisen mit dieser ‚Installation‘ auf die reale Existenz von Archiven, auf die (behaupteten, jedoch weitgehend unerforschten) Gesetzmäßigkeiten ihrer Ordnungen – auf die Bedeutung von Archiv-Recherchen (nicht nur) für die Tanzwissenschaft.
Tanz (Aus) Bildung
Ein Buch über Tanzausbildung in Europa
Sporting Sounds
Sporting Sounds presents an eclectic collection of essays, all of which are concerned with various relationships between sport and music. This unique book includes a range of international case studies, examines the use of music as a motivational aid for players, and the historical roots of music in sport.
On Reenactment
This book brings together dance and visual arts scholars to investigate the key methodological and theoretical issues concerning reenactment. Along with becoming an effective and widespread contemporary artistic strategy, reenactment is taking shape as a new anti-positivist approach to the history of dance and art, undermining the notion of linear time and suggesting new temporal encounters between past, present, and future. As such, reenactment has contributed to a move towards different forms of historical thinking and understanding that embrace cultural studies – especially intertwining gender, postcolonial, and environmental issues – in the redefinition of knowledge, historical disco...
Dancing Genius
Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.
Nijinsky's Crime Against Grace
The efforts of the three collaborators resulted in a spectacle that bore little resemblance to ballet. During the premiere at the Theatre des Champs-Elysees on May 29, 1913, Parisians were incited to riot by the strange tension of the dancing and stark contrasts of the music and decor. The premiere of Le Sacre du Printemps became a legend overnight, and the notoriety of this event began immediately to distort the significance of the work, especially Nijinsky's choreography. He declared to the London Daily Mail on July 12, 1913, "I am accused, of a crime against grace."
