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The Lost Rite
The story of how the legendary lost ballet, 'The Rite of Spring' (Le Sacre du Printemps) was recreated by Millicent Hodson and Kenneth Archer, including a Spectator's Guide with stop-frame photographs by Shira Klasmer of the Polish National Ballet onstage in the reconstructed 'Rite', together with quotes by observers from the time so that readers can 'see' the ballet as they 'hear' the voices of 1913.
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."
The Rite of Spring at 100
When Igor Stravinsky's ballet Le Sacre du printemps (The Rite of Spring) premiered during the 1913 Paris season of Sergei Diaghilev's Ballets Russes, its avant-garde music and jarring choreography scandalized audiences. Today it is considered one of the most influential musical works of the twentieth century. In this volume, the ballet finally receives the full critical attention it deserves, as distinguished music and dance scholars discuss the meaning of the work and its far-reaching influence on world music, performance, and culture. Essays explore four key facets of the ballet: its choreography and movement; the cultural and historical contexts of its performance and reception in France; its structure and use of innovative rhythmic and tonal features; and the reception of the work in Russian music history and theory.
Nijinsky's Bloomsbury Ballet
Vaslav Nijinsky's Jeux, to a commissioned score by Claude Debussy, is a daring dance poem about the libertine manners and mores of the Bloomsbury artists he and designer Leon Bakst observed at a nocturnal tennis party in London's Bedford Square. The ambiguous coupling and tripling Nijinsky explored in Jeux startled the public, as did Debussy's music, in which both the tango and turkey trot, as well as pleasure-garden themes inspired by Wagner's Parsifal are quoted. Critics attacked not so much the ethics of the ballet as its post-impressionist aesthetics, influenced by the French painters that Bloomsbury had revealed to England since 1910. Despite contemporary references, athletic moves and ...
The Lost Rite
The story of how the legendary lost ballet, The Rite of Spring (Le Sacre du Printemps) was recreated by Millicent Hodson and Kenneth Archer, including a Spectator's Guide with stop-frame photographs by Shira Klasmer of the Polish National Ballet on stage, together with quotes by observers from the time so that readers can 'see' the ballet as they 'hear' the voices of 1913.
Finding Balanchine's Lost Ballets
Ever since George Balanchine arrived on the American dance scene in 1933, his revolutionary, fleet-footed repertoire has been immortalized in the ballet canon. Yet most of the works he created in Russia as a budding choreographer have been lost to history—until now. In the first book to focus exclusively on Balanchine’s Russian ballets, Elizabeth Kattner offers new insights into the artistic evolution of a legend through her reconstruction of his first group ballet, Funeral March. Drawing on more than a decade of research conducted in archives in the United States and Europe, Kattner synthesizes textual descriptions, photographs, musical scores, and the comparative study of other early B...
La Chatte
Volume Two in a series about the Hodson/Archer reconstructions of early Balanchine ballet. Including eyewitness accounts and critical reviews from the 1920s; documentary texts by Kenneth Archer; original choreographic drawings by Millicent Hodson; and graphic design by Elizabeth Kiem.
Dance History
Originally published in 1983 the first edition rapidly established itself as a core student text. Now fully revised and up-dated it remains the only book to address the rationale, process, techniques and methodologies specific to the study of dance history. For the main body of the text which covers historical studies of dance in its traditional and performance contexts, the editors have brought together a team of internationally known dance historians. Roger Copeland and Deborah Jowitt each take a controversial look at the modern American dance. Kenneth Archer and Millicent Hodson explain the processes they use when reconstructing 'lost' ballets, and Theresa Buckland and Georgina Gore write on traditional dance in England and West Africa respectively. With other contributions on social dance, ballet, early European modern dance and feminist perspectives on dance history this book offers a multitude of starting points for studying dance history as well as presenting examples of dance writing at its very best. Dance History will be an essential purchase for all students of dance.
Moving History/Dancing Cultures
This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history—particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections whi...
Dancing Women
Dancing Women: Female Bodies Onstage is a spectacular and timely contribution to dance history, recasting canonical dance since the early nineteenth century in terms of a feminist perspective. Setting the creation of specific dances in socio-political and cultural contexts, Sally Banes shows that choreographers have created representations of women that are shaped by - and that in part shape - society's continuing debates about sexuality and female identity. Broad in its scope and compelling in its argument Dancing Women: * provides a series of re-readings of the canon, from Romantic and Russian Imperial ballet to contemporary ballet and modern dance * investigates the gaps between plot and ...
