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Culinary Lesson: The Space of Food
CULINARY LESSONS - The Space of Food is based on a series of events, Culinary Lessons, which were hosted by the Städelschule Architecture Class and which engaged with the relation between food, art and architecture. The series addressed the enormous so- cial, economic and cultural spaces that accompany the production and consumption of food, and attempted to unravel some of these spaces' structure and dynamics. The central ambition was to learn from culinary history and, not the least, the recent vanguard of culinary practice. No human activity is so encompassing and engenders such ef- fects on our societies and lives as the culinary. Culinary practices lay out aesthetic as much as ethical ...
Transmission in Motion
How can various technologies, from the more conventional to the very new, be used to archive, share and understand dance movement? How can they become part of new ways of creating dance? What does this tell us about the ways in which technology is part of how we make sense and think? Well-known choreographers and dance collectives including William Forsythe, Siohban Davis, Merce Cunningham, Anne Teresa De Keersmaeker and BADco. have initiated projects to investigate these questions, and in so doing have inaugurated a new era for dance archives, education, research and creation. Their work draws attention to the intimate relationship between the technologies we use and the ways in which we th...
William Forsythe’s Postdramatic Dance Theater
This book takes choreographer William Forsythe’s choreographic and scenographic processes as a holistic lens through which to view dance as a fundamentally visuo-sonic art form and choreography as a form of perceptual experimentation. In doing so, it reveals how the made worlds within which postdramatic dance is situated influence how choreography is perceived. Resonating with ecological perspectives but also drawing on an extensive range of cognitive research approaches, the volume’s choreo-scenographic perspective emphasizes the importance of considering the expanded scenography of lighting, sound, space, scenic elements, costume, and performer movement when analyzing the sensory and cognitive perception of dance. The volume provides a first book-length cognitive study of both an individual choreographer and the aesthetics of postdramatic theatre. It also satisfies a need for more dedicated scholarship on Forsythe, whose extensive and varied array of groundbreaking ballets and dance theater works for the Ballett Frankfurt (1984-2004), The Forsythe Company (2005-15), and as an independent choreographer have made him a key figure in 20th/21st century dance.
Processing Choreography
Told from the perspective of the dancers, »Processing Choreography: Thinking with William Forsythe's Duo« is an ethnography that reconstructs the dancers' activity within William Forsythe's Duo project. The book is written legibly for readers in dance studies, the social sciences, and dance practice. Considering how the choreography of Duo emerged through practice and changed over two decades of history (1996-2018), Elizabeth Waterhouse offers a nuanced picture of creative cooperation and institutionalized process. She presents a compelling vision of choreography as a nexus of people, im/material practices, contexts, and relations. As a former Forsythe dancer herself, the author provides novel insights into this choreographic community.
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Photographs of dancers from Ballett Frankfurt at work.
William Forsythe and the Practice of Choreography
William Forsythe’s reinvigoration of classical ballet during his 20-year tenure at the Ballett Frankfurt saw him lauded as one of the greatest choreographers of the postwar era. His current work with The Forsythe Company has gone even further to challenge and investigate fundamental assumptions about choreography itself. William Forsythe and the Practice of Choreography presents a diverse range of critical writings on his work, with illuminating analysis of his practice from an interdisciplinary perspective. The book also contains insightful working testaments from Forsythe’s collaborators, as well as a contribution from the choreographer himself. With essays covering all aspects of Forsythe’s past and current work, readers are provided with an unparalleled view into the creative world of this visionary artist, as well as a comprehensive resource for students, scholars, and practitioners of ballet and contemporary dance today.
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The Oxford Handbook of Contemporary Ballet
"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, c...
Dance on Its Own Terms
Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The chapters emphasize dance history and core disciplinary knowledge in three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.
Dance Now
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