In this instant New York Times bestseller, Misty Copeland makes history, telling the story of her journey to become the first African-American principal ballerina at the prestigious American Ballet Theatre. But when she first placed her hands on the barre at an after-school community center, no one expected the undersized, underprivileged, and anxious thirteen-year-old to become one of America’s most groundbreaking dancers . A true prodigy, she was attempting in months roles that take most dancers years to master. But when Misty became caught between the control and comfort she found in the world of ballet and the harsh realities of her own life, she had to choose to embrace both her identity and her dreams, and find the courage to be one of a kind.
With an insider’s passion, Misty opens a window into the life of an artist who lives life center stage, from behind the scenes at her first classes to her triumphant roles in some of the world’s most iconic ballets. A sensational memoir as “sensitive” and “clear-eyed” (The Washington Post) as her dancing, Life in Motion is a story of passion, identity and grace for anyone who has dared to dream of a different life.
Teacher recommended, Gail Grant's Technical Manual has long been one of the most popular and effective ballet reference guides. Completely revised and updated, this third edition is virtually a new work and should be owned by every student, dance teacher, choreographer, and ballet enthusiast — even those who purchased the second edition. Extensive revision, expansion, and the inclusion of more than 300 new terms have added immeasurably to the value of this concise, definitive manual.
Moving from "abstract ballet" and "adage, adagio" to "working leg" and "wrapped position," the book fully describes and defines over 1,100 ballet steps (saul de chat, jeté enveloppé, failli, entrechat six, etc.), movements and poses (arabesque, épaulement, attitude, en arrière, retiré, à terre, dégagé, etc.), and other expressions and concepts. For each, first a phonetic transcription is provided, then a literal translation, and finally an explanation of how the step is performed, the pose captured, or the movement executed, of how the concept fits in with actual ballet dancing, or of the purpose or function of the idea. A pronunciation guide, cross-references to alternate names for similar steps and positions that vary from the Russian to the French or Italian schools, and a bibliography are all invaluable aids.
But the most important supplement is the 15-page pictorial section, drawn by the author, who is both a successful ballet teacher and dancer. Keyed to the dictionary (and vice-versa), these diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many of the more common ballet steps and movements. This essential and easy reference is a must for every teacher, aspiring dancer, and ballet class.
Voice acting is like acting, but just using your voice! It's a unique career where the actor's voice can be heard worldwide-in commercials, on audiobooks, in animated movies, documentaries, online videos, telephone systems and much, much more. The point is to bring the written word to life with the human voice.
With step-by-step explanations and an abundance of examples, Voice Acting For Dummies is the ultimate reference for budding voice actors on auditioning, recording, producing voice-overs, and promoting themselves as a voice actor.Creating a voice acting demoFinding your signature voiceInterpreting scriptsUsing audio editing softwarePromoting your voice acting talents
If you're an aspiring voice actor or an actor or singer considering a career transition, Voice Acting For Dummies has everything you need to let your voice talents soar.
The extraordinary memoir of a peasant boy raised in rural Maoist China who was plucked from his village to study ballet and went on to become one of the greatest dancers of his generation.
From a desperately poor village in northeast China, at age eleven, Li Cunxin was chosen by Madame Mao's cultural delegates to be taken from his rural home and brought to Beijing, where he would study ballet. In 1979, the young dancer arrived in Texas as part of a cultural exchange, only to fall in love with America-and with an American woman. Two years later, through a series of events worthy of the most exciting cloak-and-dagger fiction, he defected to the United States, where he quickly became known as one of the greatest ballet dancers in the world. This is his story, told in his own inimitable voice.
THE BASIS FOR A MAJOR MOTION PICTURE
From the Trade Paperback edition.
The principles of Vaganova's system are presented in this well-known book. Mme. Vaganova's aim of creating a personal approach to the Russian dance was based on the critical assimilation of the experience of her contemporaries. Her ability to choose the best of what had been accomplished in the various ballet traditions (French, Italian, and Russian) and combine these into a unified teaching practice in itself amounted to a new school of dance. She firmly believed that the teaching process should be a planned exercise, ever changing with innovations in the dance. She sought from her pupils emotional expressiveness, strictness of form, a resolute, energetic manner of performance, and the understanding of the underlying coordination of movements.
Her book discusses all basic principles of ballet, grouping movements by fundamental types. Chapters cover battements, rotary movements of the legs, the arms, poses of the classical dance, connecting and auxiliary movements, jumps, beats, point work, and turns as well as material for a sample lesson. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. The result is a fundamental theory of dance that offers dancers, teachers, and ballet lovers information often difficult to locate in other books.
Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.
Life as Theater is organized around five substantive issues in social psychology: Social Relationships as Drama; The Dramaturgical Self; Motivation and Drama; Organizational Dramas; and Political Dramas. This classic text was revised and updated for a second edition in 1990, and includes approximately 66 percent new materials, all featuring individual introductions that provide the dramaturgical perspective and reflect the most learned thinking and work being done within this point of view. This book's sophistication will appeal to the scholar, and its clarity and conciseness to the student. Like its predecessor, it is designed to serve as a primary text or supplementary reader in classes.
This new paperback edition includes an introduction by Robert A. Stebbins that explains why, even fifteen years after its publication, Life as Theater remains the best single sourcebook on the dramaturgic perspective as applied in the social sciences.
Dennis Brissett (died 1996) was professor of behavioral science at the University of Minnesota School of Medicine in Duluth, and also taught at the State University of New York at Buffalo and Portland State University.
Charles Edgley is a professor in and head of the Department of Sociology at Oklahoma State University and has been a member of the faculty since 1972. He is coeditor of The Handbook of Thanatology and does editorial work regularly for the journal Symbolic Interaction, where he has published a portion of his research on the health and fitness movement.
Robert A. Stebbins is faculty professor and professor of sociology emeritus at the University of Calgary. He is the author of many books, including Between Work and Leisure, from Transaction Publishers.
When Groucho Marx and Charlie Chaplin were born, variety entertainment had been going on for decades in America, and like Harry Houdini, Milton Berle, Mae West, and countless others, these performers got their start on the vaudeville stage. From 1881 to 1932, vaudeville was at the heart of show business in the States. Its stars were America's first stars in the modern sense, and it utterly dominated American popular culture. Writer and modern-day vaudevillian Trav S.D. chronicles vaudeville's far-reaching impact in No Applause--Just Throw Money. He explores the many ways in which vaudeville's story is the story of show business in America and documents the rich history and cultural legacy of our country's only purely indigenous theatrical form, including its influence on everything from USO shows to Ed Sullivan to The Muppet Show and The Gong Show. More than a quaint historical curiosity, vaudeville is thriving today, and Trav S.D. pulls back the curtain on the vibrant subculture that exists across the United States--a vast grassroots network of fire-eaters, human blockheads, burlesque performers, and bad comics intent on taking vaudeville into its second century.
The first production of Oscar Wilde’s Salomé in 1918, with American exotic dancer Maud Allan dancing lead, ignited a firestorm in London spearheaded by Noel Pemberton Billing, a member of Parliament and self-appointed guardian of family values. Billing attacked Allan in the right-wing newspaper Vigilante as a member of the “Cult of the Clitoris,” a feminine version of the “Cult of the Wilde,” a catchall for the degeneracy and perversion he was convinced had infected the land. He claimed that a black book was in the hands of their enemies the Germans, a book that contained the names of thousands of the British establishment who without doubt were members of the cult. Threat of exposure was costing England the war.
Allan sued Billing for libel, and the ensuing trial, brought to life in this authoritative, spellbinding book, held the world in thrall. Was there or was there not a black book? What names did it contain? The trial was both hugely entertaining and deadly serious and raised specters of hysteria, homophobia, and paranoia that, like Oscar Wilde himself, continue to haunt us. As in Wilde’s own trial in 1895, libel was hardly the issue; the fight was for control over the country’s moral compass. In Oscar Wilde’s Last Stand, biographer and historian Philip Hoare gives us the full drama of the Billing trial, gavel to gavel, and brings to life this unique, bizarre, and fascinating event.
Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.
Through the plays of these masters, Adler discusses the arts of playwriting and script interpretation ("There are two aspects of the theater. One belongs to the author and the other to the actor. The actor thinks it all belongs to the author. . .The curtain goes up and all he knows are the lines. . .It is not enough. . .Script interpretation is your profession").
She looks into aspects of society and class, and into our cultural past, as well as the evolution of the
modern spirit ("The actor learns from Ibsen what is modern in the modern theater. There are no villains, no heroes. Ibsen understands, more than anything, there is more than one truth").
Stella Adler--daughter of Jacob Adler, who was universally acknowledged to be the greatest actor
of the Yiddish theater, and herself a disciple of Stanislavsky--examines the role of the actor and brings to life the plays from which all modern theater derives: Ibsen's Hedda Gabler, The Master Builder, An Enemy of the People, and A Doll's House; Strindberg's Miss Julie and The Father; Chekhov's The Seagull, Uncle Vanya, The Cherry Orchard, and Three Sisters ("Masha is the sister who is the mystery. You cannot reach her. You cannot reach the artist. There is no logical way. Keep her in a special pocket of feelings that are complex and different").
Adler discusses the ideas behind these plays and explores the world of the playwrights and the
history--both familial and cultural--that informed their work. She illumines not only the dramatic essence of each play but its subtext as well, continually asking questions that deepen one's understanding of the work and of the human spirit.
Adler's book, brilliantly edited by Barry Paris, puts her famous lectures into print for the first time.
From the Hardcover edition.
Until now, readers and students have had to contend with inaccurate, misleading and difficult-to-read English-language versions. Some of the mistranslations have resulted in profound distortions in the way his system has been interpreted and taught. At last, Jean Benedetti has succeeded in translating Stanislavski’s huge manual into a lively, fascinating and accurate text in English. He has remained faithful to the author's original intentions, putting the two books previously known as An Actor Prepares and Building A Character back together into one volume, and in a colloquial and readable style for today's actors.
The result is a major contribution to the theatre, and a service to one of the great innovators of the twentieth century.
Sex, as much as dance, was a driving force for Nureyev. From his first secret liaison in Russia to his tempestuous relationship with the great Danish dancer Erik Bruhn, we see not only Nureyev’s notorious homosexual history unfold, but also learn of his profound effect on women--whether a Sixties wild child or Jackie Kennedy and Lee Radziwill or the aging Marlene Dietrich. Among the first victims of AIDS, Nureyev was diagnosed HIV positive in 1984 but defied the disease for nearly a decade, dancing, directing the Paris Opéra Ballet, choreographing, and even beginning a new career as a conductor. Still making plans for the future, Nureyev finally succumbed and died in January l993.
Drawing on previously undisclosed letters, diaries, home-movie footage, interviews with Nureyev’s inner circle, and her own dance background, Julie Kavanagh gives the most intimate, revealing, and dramatic picture we have ever had of this dazzling, complex figure.
NOTE: This edition does not include photos.
Swans of the Kremlin offers a fascinating glimpse at the collision of art and politics during the volatile first fifty years of the Soviet period. Ezrahi shows how the producers and performers of Russia’s two major troupes, the Mariinsky (later Kirov) and the Bolshoi, quietly but effectively resisted Soviet cultural hegemony during this period. Despite all controls put on them, they managed to maintain the classical forms and traditions of their rich artistic past and to further develop their art form. These aesthetic and professional standards proved to be the power behind the ballet’s worldwide appeal. The troupes soon became the showpiece of Soviet cultural achievement, as they captivated Western audiences during the Cold War period.
Based on her extensive research into official archives, and personal interviews with many of the artists and staff, Ezrahi presents the first-ever account of the inner workings of these famed ballet troupes during the Soviet era. She follows their struggles in the postrevolutionary period, their peak during the golden age of the 1950s and 1960s, and concludes with their monumental productions staged to celebrate the fiftieth anniversary of the revolution in 1968.
This third edition is accompanied by an all-new companion website curated by a dedicated media editor, with the following resources for instructors and students:Interactive glossary Multiple choice questions Powerpoint Slides. Videos Website links for further study Tutorials on specific skills within Performance Studies Sample Discussion Questions Exercises and Activities Sample Syllabi
The book itself has also been revised, with 25 new extracts and biographies, up-to-date coverage of global and intercultural performances, and further exploration of the growing international presence of Performance Studies as a discipline.
Performance Studies is the definitive overview for undergraduates, with primary extracts, student activities, key biographies and over 200 images of global performance.
100 Essays I Don't Have Time to Write is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life.
Under the inspired leadership of founder Joseph Papp, the Public Theater and the New York Shakespeare Festival brought revolutionary performances to the public for decades. This compulsively readable history of those years—much of it told in Papp’s own words—is fascinating, ranging from a dramatic early showdown with Robert Moses over keeping Shakespeare in the Park free to the launching of such landmark productions as Hair and A Chorus Line. To bring the story to life, film critic Kenneth Turan interviewed some 160 luminaries—including George C. Scott, Meryl Streep, Mike Nichols, Kevin Kline, James Earl Jones, David Rabe, Jerry Stiller, Tommy Lee Jones, and Wallace Shawn—and masterfully weaves their voices into a dizzyingly rich tale of creativity, conflict, and achievement.
From the Trade Paperback edition.
Jenifer Ringer, a principal dancer with the New York City Ballet, was thrust into the headlines after her weight was commented on by a New York Times critic, and her response ignited a public dialogue about dance and weight.
Ballet aficionados and aspiring performers of all ages will want to join Ringer behind the scenes as she shares her journey from student to star and candidly discusses both her struggle with an eating disorder and the media storm that erupted after the Times review. An unusually upbeat account of life on the stage, Dancing Through It is also a coming-of-age story and an inspiring memoir of faith and of triumph over the body issues that torment all too many women and men.
In Introducing Bert Williams, historian Camille Forbes reveals a fascinating figure, initiating the reader into the vivid world of nineteenth- and early twentieth-century popular entertainment. Williams's long and varied career is a whirlwind of drama, glamour, and ambition—nothing less than the birth of American show business.
Born in the turbulent decade of the Depression, the Group Theatre revolutionized American arts. Wendy Smith's dramatic narrative brings the influential troupe and its founders to life once again, capturing their joys and pains, their triumphs and defeats. Filled with fresh insights into the towering personalities of Harold Clurman, Lee Strasberg, Cheryl Crawford, Elia Kazan, Clifford Odets, Stella and Luther Adler, Karl Malden, and Lee J. Cobb, among many others, Real Life Drama chronicles a passionate community of idealists as they opened a new frontier in theater.
Actor Training expands on Alison Hodge’s highly-acclaimed and best-selling Twentieth Century Actor Training. This exciting second edition radically updates the original book making it even more valuable for any student of the history and practice of actor training. The bibliography is brought right up to date and many chapters are revised. In addition, eight more practitioners are included - and forty more photographs - to create a stunningly comprehensive study.
The practitioners included are:
Stella Adler; Eugenio Barba; Augusto Boal; Anne Bogart; Bertolt Brecht; Peter Brook; Michael Chekhov; Joseph Chaikin; Jacques Copeau; Philippe Gaulier; Jerzy Grotowski; Maria Knebel; Jacques Lecoq; Joan Littlewood; Sanford Meisner; Vsevolod Meyerhold; Ariane Mnouchkine; Monika Pagneux; Michel Saint-Denis; Włodzimierz Staniewski; Konstantin Stanislavsky; Lee Strasberg
The historical, cultural and political context of each practitioner’s work is clearly set out by leading experts and accompanied by an incisive and enlightening analysis of the main principles of their training, practical exercises and key productions.
This book is an invaluable introduction to the principles and practice of actor training and its role in shaping modern theatre.
Theatre in Prison is a collection of thirteen international essays exploring the rich diversity of innovative drama works in prisons. The book includes an introduction that will present a contextualisation of the prison theatre field. Thereafter, leading practitioners and academics will explore key aspects of practice &endash; problemitising, theorising and describing specific approaches to working with offenders. The book also includes extracts from prison plays, poetry and prisoners writings that offer illustrations and insights into the experience of prison life.
The first chapter defines and illustrates the basic theory of the positions, body movements, and technical terms. Detailed chapters of exercises include "Exercises at the Bar," "Port de Bras," "Centre Practice," "Adagio," and "Allegro." Each exercise appears with a numbered series of instructions, and a table of daily exercises for the week is provided. The text is accompanied by 109 line illustrations, showing positions and movements of the body in detail and offering ballet lovers a perfect guide to the basics of classical ballet.
In What We Talk About When We Talk About Clone Club: Bioethics and Philosophy in Orphan Black, prominent bioethicist Gregory E. Pence violates Clone Club’s first rule to take us deeper into the show and its connections to the real world, including:
Widespread myths about human clones (and Orphan Black’s rejection of them)
Our ugly history of eugenics
The ethics of human experimentation, by way of Projects Castor and Leda
What we can learn about clones and identity from twin studies and tensions among Orphan Black’s clone “sisters”
Kendall Malone and other genetic anomalies
The brave new world of genetic enhancement and clonal dynasties, and how Helena and Kira Manning fit in
In the process, What We Talk About When We Talk About Clone Club reveals why Orphan Black is some of today’s most engaging and thought-provoking television.
What is good acting? How does one create believable characters? How can an actor understand a character if they do not understand themselves?
In The Science of Acting, Sam Kogan uses his theories on the relationship between neuroscience, psychology and acting to answer these questions. Practical exercises provide a step-by-step guide to developing an actor's ability, culminating in Ten Steps to Creating a Character.
He presents the reader with a groundbreaking understanding of the subconscious and how it can be applied to their acting. The author’s highly original perspective on Stanislavski's teaching gives readers a unique insight into their character’s minds.
Sam Kogan studied at the Moscow Institute of Theatre Arts (now the Russian Academy of Theatre Arts) under the tutelage of Professor Maria Knebel. He established The Science of Acting, a complete stand-alone technique.
Helen Kogan is the chair and former principal of The Academy of Science of Acting and Directing, has helped to shape her father's words and work for the publication of this book.
For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, Apollo’s Angels—the first cultural history of ballet ever written—is a groundbreaking work. From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, asEntertainment Weekly notes, brings “a dancer’s grace and sure-footed agility to the page.”
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW • LOS ANGELES TIMES • SAN FRANCISCO CHRONICLE • PUBLISHERS WEEKLY
“Fascinating . . . Wasson has taken complete control of his subject.” — Wall Street Journal
The only person ever to win Oscar, Emmy, and Tony awards in the same year, Bob Fosse revolutionized nearly every facet of American entertainment. His signature style would influence generations of performing artists. Yet in spite of Fosse’s innumerable—including Cabaret, Pippin, All That Jazz, and Chicago, one of the longest-running Broadway musicals ever—his offstage life was shadowed by deep wounds and insatiable appetites.
To craft this richly detailed account, best-selling author Sam Wasson has drawn on a wealth of unpublished material and hundreds of sources: friends, enemies, lovers, and collaborators, many of them speaking publicly about Fosse for the first time. With propulsive energy and stylish prose, Fosse is the definitive biography of one of Broadway and Hollywood’s most complex and dynamic icons.
“Spellbinding.” —Entertainment Weekly
“Impeccably researched.” —Vanity Fair
An NPR Best Book of the Year
Childlike in his innocence but grotesque in form, Frankenstein's bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal.
Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale.
Mary Shelley's Frankenstein, adapted for the stage by Nick Dear, premiered at the National Theatre, London, in February 2011.
She'd given up on love. He didn't have time for it. She thinks he's a stuck up pretty boy who doesn't care about anyone but himself, and he thinks she's a stuck up prude who wouldn't know how to "put out" if she tried. And yet...
Antonio Riverra AKA Tony Rivers comes from a lower class background, raised in the rough streets of gang-infested L.A. His only saving grace was his mother who was a dance teacher. However, Tony kept his knowledge of ballet a highly-guarded secret. He’s applied for early admission to a number of California performing arts colleges, but earned a scholarship to small but prestigious school, the San Oaho College of Visual and Performing Arts.
Allison (Allie) Holbrook is the rebellious daughter of a rich man. She doesn’t know her mother, as she was abandoned on her father’s doorstep when she was three. Since a paternity test confirmed she was his, Jefferson Holbrook took financial but not emotional responsibility for her. He had a nanny care for her until she was old enough to go to boarding school. She’s had the best of everything but good role models. Because her father controls everything about her life, and Jefferson believes the only thing a rich man’s daughter should do is marry a rich man’s son, he sends her off to the San Oaho College of Visual and Performing Arts while he finds her a husband.
Does love have limits? At what cost?
Out of nowhere, when Allie least expects it, Tony crashes into her life. Now, the stakes have never been higher.
This is steamy romance, NOT erotica.
Search Terms: Suspense romance, hot and steamy, dance, romantic suspense, romantic comedy, sports romance, new adult and college romance, sport romance, dark romance, contemporary romance
You don’t have to be a fan of the ballet to enjoy this captivating tale, available for the first time in ebook.
Ashperger offers an analysis of the complex philosophical influences that shaped Chekhov's ideas about this psycho-physical approach to acting. Chekhov's five guiding principles are introduced to demonstrate how eastern ideas and practices have been integrated into this western technique and how they have continued to develop on both theoretical and practical levels in contemporary pedagogy, thereby rendering it intercultural.
The volume also focuses on the work of several contemporary teachers of the technique associated with Michael Chekhov International Association (MICHA). Current teacher training is described as well as the different modes of hybridization of Chekhov's technique with other current methods.
Contemporary practical experiments and some fifty exercises at both beginner and intermediate/advanced levels are presented through analysis, examples, student journals and case studies, delineating the sequences in which units are taught and specifying the exercises that differ from those in Chekhov's original writing.
This book is for practitioners as well as students of the theatre.
In 1931, Ninette de Valois started a ballet company with just six dancers. Within twenty years, The Royal Ballet - as it became - was established as one of the world's great companies. It has produced celebrated dancers, from Margot Fonteyn to Darcey Bussell, and one of the richest repertoires in ballet.
The company danced through the Blitz, won an international reputation in a single New York performance and added to the glamour of London's Swinging Sixties. It has established a distinctive English school of ballet, a pure classical style that could do justice to the 19th-century repertory and to new British classics.
Leading dance critic, Zoë Anderson, vividly portrays the extraordinary personalities who created the company and the dancers who made such an impact on their audiences. She looks at the bad times as well as the good, examining the controversial directorships of Norman Morrice and Ross Stretton and the criticism fired at the company as the Royal Opera House closed for redevelopment.
Yet despite the scorn heaped on him, and his consequent obscurity, Minkus is far from being forgotten. Since the early 1960s his name has slowly begun to re-surface. Two works, Don Quixote (1869) and La Bayadère (1877), have been presented in their entirety for the first time to new audiences all over the world. The musical and dramatic power of both ballets has taken people by surprise. The stories have a very real human appeal, the choreography attracts the admiration of balletomanes, and the music, with its rhythm, verve, and beauty of melody, holds attention and engages the heart wherever it is heard.
This introduction seeks to discover something more behind the blank façade of Minkus’s life and work. What do we actually know about him as a man and as an artist? Are we able to apprehend his oeuvre as a whole, and how much can we establish from the available material? What is the nature of the music he created for those few works that have survived the years, and that have come to the fore again recently to delight those who have ears to hear?
This study includes iconography from the life and times of the composer, many musical examples from his works, and a comprehensive bibliography and discography.
Presenting a series of historical case studies, the book explores the ways in which, from the nineteenth century into the twentieth, ballet has been a means of conjuring homosexuality – of enabling some degree of expression and visibility for people who were otherwise declared illegal and obscene.
the perverse sororities of the Romantic ballet the fairy in folklore, literature, and ballet Tchaikovsky and the making of Swan Lake Diaghilev’s Ballets Russes and the emergence of queer modernity the formation of ballet in America the queer uses of the prima ballerina Genet’s writings for and about ballet.
Also including a consideration of how ballet’s queer tradition has been memorialized by such contemporary dance-makers as Neumeier, Bausch, Bourne, and Preljocaj, this is an essential book in the study of ballet and queer history.
Ballet Beyond Tradition seeks to reconcile these age-old conflicts and bring a new awareness to ballet teachers of the importance of a holistic training regimen that draws on the best that modern dance and movement-studies offers.
Keep your crown,
I swear you'll never bring me down!
I am not queen material!
Once, in opposing kingdoms lived a princess and a prince who had lost their mothers. Althea, unable to cry, became light with grief and floated, and so was locked away. Digby, so heavy-hearted that he could never smile, one day declares war. Althea, forced out of hiding, escapes, only to encounter the solemn prince on contested land and the warring heirs begin a passionate affair. But for Althea to find real love, she must first face her own deepest fears.
Using the stories of great dancers such as Anna Pavlova, Isadora Duncan, Suzanne Farrell, Gelsey Kirkland, and Evelyn Hart, Deirdre Kelly exposes the true rigors for women in ballet. She rounds her critique with examples of how the world of ballet is slowly evolving for the better. But to ensure that this most graceful of dance forms survives into the future, she says that the time has come to rethink ballet, to position the ballerina at its center and accord her the respect she deserves.
Using the analytical tools of literary analysis, cultural studies, performance theory, and social semiotics, AIDS and American Apocalypticism examines many kinds of discourse, including fiction, drama, performance art, demonstration graphics and brochures, biomedical publications, and journalism and shows that, while initially useful, the effects of apocalyptic rhetoric in the long term are dangerous. Among the important figures in AIDS activism and the arts discussed are David Drake, Tim Miller, Sarah Schulman, and Tony Kushner, as well as the organizations ACT UP and Lesbian Avengers.
What emerges is a nuanced understanding of Brecht's concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to 'make theatre politically', in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber's Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.
Fast forward four decades. Lauren-suddenly, powerfully, itchingly restless at midlife-embarks on a "Transcontinental Nutcracker Binge Tour," where attending a string of performances in Chicago, New York, Boston, and San Francisco reignites her love affair with the ballet-and fuels her girlhood dream.
What ensues is not only a story about The Nutcracker itself, but also an inside look at the seemingly romantic-but oh-so-gritty-world of ballet, about all that happens away from the audience's eye that precedes the magic on stage. It is a tale told from the perspective of someone who not only loves it, but is also seeking to live it. Lauren's quest to dance The Nutcracker with the Eugene Ballet Company tackles the big issues: fear, angst, risk, resilience, the refusal to "settle in" to midlife, the refusal to become yet another Invisible Woman. It is also a very funny, very real look at what it's like to push yourself further than you ever thought you could go-and what happens when you get there.