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.
Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.
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 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.
"An astounding triumph . . . Profound . . . Achingly wise . . . A recovery memoir like no other." --Entertainment Weekly (A)
"Riveting . . . Beautifully told." --Boston Globe
"An honest and important book . . . Vivid writing and required reading." --Stephen King
"Perceptive and generous-hearted . . . Uncompromising . . . Jamison is a writer of exacting grace." --Washington Post
From the New York Times bestselling author of The Empathy Exams comes this transformative work showing that sometimes the recovery is more gripping than the addiction.
With its deeply personal and seamless blend of memoir, cultural history, literary criticism, and reportage, The Recovering turns our understanding of the traditional addiction narrative on its head, demonstrating that the story of recovery can be every bit as electrifying as the train wreck itself. Leslie Jamison deftly excavates the stories we tell about addiction--both her own and others'--and examines what we want these stories to do and what happens when they fail us. All the while, she offers a fascinating look at the larger history of the recovery movement, and at the complicated bearing that race and class have on our understanding of who is criminal and who is ill.
At the heart of the book is Jamison's ongoing conversation with literary and artistic geniuses whose lives and works were shaped by alcoholism and substance dependence, including John Berryman, Jean Rhys, Billie Holiday, Raymond Carver, Denis Johnson, and David Foster Wallace, as well as brilliant lesser-known figures such as George Cain, lost to obscurity but newly illuminated here. Through its unvarnished relation of Jamison's own ordeals, The Recovering also becomes a book about a different kind of dependency: the way our desires can make us all, as she puts it, "broken spigots of need." It's about the particular loneliness of the human experience-the craving for love that both devours us and shapes who we are.
For her striking language and piercing observations, Jamison has been compared to such iconic writers as Joan Didion and Susan Sontag, yet her utterly singular voice also offers something new. With enormous empathy and wisdom, Jamison has given us nothing less than the story of addiction and recovery in America writ large, a definitive and revelatory account that will resonate for years to come.
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.
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
Beginning with his real-life Billy Elliot childhood—an all-American story marred by intense bullying—and culminating in his hard-won comeback, Hallberg’s “moving and intelligent” (Daniel Mendelsohn) memoir dives deep into life as an artist as he wrestles with ego, pushes the limits of his body, and searches for ecstatic perfection and fulfillment as one of the world’s most acclaimed ballet dancers.
Rich in detail ballet fans will adore, Hallberg presents an “unsparing…inside look” (The New York Times) and also reflects on universal and relatable themes like inspiration, self-doubt, and perfectionism as he takes readers into daily class, rigorous rehearsals, and triumphant performances, searching for new interpretations of ballet’s greatest roles. He reveals the loneliness he felt as a teenager leaving America to join the Paris Opera Ballet School, the ambition he had to tame as a new member of American Ballet Theatre, and the reasons behind his headline-grabbing decision to be the first American to join the top rank of Bolshoi Ballet, tendered by the Artistic Director who would later be the victim of a vicious acid attack. Then, as Hallberg performed throughout the world at the peak of his abilities, he suffered a crippling ankle injury and botched surgery leading to an agonizing retreat from ballet and an honest reexamination of his entire life.
Combining his powers of observation and memory with emotional honesty and artistic insight, Hallberg has written a great ballet memoir and an intimate portrait of an artist in all his vulnerability, passion, and wisdom. “Candid and engrossing” (The Washington Post), A Body of Work is a memoir “for everyone with a heart” (DC Metro Theater Arts).
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.
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 The Violet Hour, Katie Roiphe takes an unexpected and liberating approach to the most unavoidable of subjects. She investigates the last days of six great thinkers, writers, and artists as they come to terms with the reality of approaching death, or what T. S. Eliot called “the evening hour that strives Homeward, and brings the sailor home from sea.”
Roiphe draws on her own extraordinary research and access to the family, friends, and caretakers of her subjects. Here is Susan Sontag, the consummate public intellectual, who finds her commitment to rational thinking tested during her third bout with cancer. Roiphe takes us to the hospital room where, after receiving the worst possible diagnosis, seventy-six-year-old John Updike begins writing a poem. She vividly re-creates the fortnight of almost suicidal excess that culminated in Dylan Thomas’s fatal collapse at the Chelsea Hotel. She gives us a bracing portrait of Sigmund Freud fleeing Nazi-occupied Vienna only to continue in his London exile the compulsive cigar smoking that he knows will hasten his decline. And she shows us how Maurice Sendak’s beloved books for children are infused with his lifelong obsession with death, if you know where to look.
The Violet Hour is a book filled with intimate and surprising revelations. In the final acts of each of these creative geniuses are examples of courage, passion, self-delusion, pointless suffering, and superb devotion. There are also moments of sublime insight and understanding where the mind creates its own comfort. As the author writes, “If it’s nearly impossible to capture the approach of death in words, who would have the most hope of doing it?” By bringing these great writers’ final days to urgent, unsentimental life, Katie Roiphe helps us to look boldly in the face of death and be less afraid.
Praise for The Violet Hour
“A beautiful book . . . The intensity of these passages—the depth of research, the acute sensitivity for declarative moments—is deeply beguiling.”—The New York Times Book Review
“Profound, poetic and—yes—comforting.”—People
“Unconventional, engaging . . . [The Violet Hour] is at once scholarly, literary, juicy—and unabashedly personal.”—Los Angeles Times
“Enveloping . . . I read it in bed, at the kitchen table, while walking down the street. . . . ‘What normal person wants to blunder into this hushed and sacred space?’ she asks. But the answer is all of us, and Ms. Roiphe does it with grace.”—Jennifer Senior, The New York Times
“A beautiful and provocative meditation on mortality.”—Minneapolis Star Tribune
“A tender yet penetrating look at the final days . . . Roiphe has always seemed to me a writer to envy. No matter what the occasion, she can be counted on to marry ferocity and erudition in ways that nearly always make her interesting.”—The Wall Street Journal
“Here is a critic in supreme control of her gifts, whose gift to us is the observant vigor that refuses to flinch before the Reaper. . . . She knows that true criticism does not bother with the mollification of delicate sensibilities, only with the intellect as it roils and rollicks through language.”—William Giraldi, The New Republic
From the Hardcover edition.
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.
Rare Birds of North America provides unparalleled insights into vagrancy and avian migration, and will enrich the birding experience of anyone interested in finding and observing rare birds.
Covers 262 species of vagrant birds found in the United States and Canada
Features 275 stunning color plates that depict every species
Explains patterns of occurrence by region and season
Provides an invaluable overview of vagrancy patterns and migration
Includes detailed species accounts and cutting-edge identification tips
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.
--The Washington Post
In our zeal to embrace the wonders of the electronic age, are we sacrificing our literary culture? Renowned critic Sven Birkerts believes the answer is an alarming yes. In The Gutenberg Elegies, he explores the impact of technology on the experience of reading. Drawing on his own passionate, lifelong love of books, Birkerts examines how literature intimately shapes and nourishes the inner life. What does it mean to "hear" a book on audiotape, decipher its words on a screen, or interact with it on CD-ROM? Are books as we know them dead?
At once a celebration of the complex pleasures of reading and a boldly original challenge to the new information technologies, The Gutenberg Elegies is an essential volume for anyone who cares about the past and future of books.
"[A] wise and humane book....He is telling us, in short, nothing less than what reading means and why it matters."
--The Boston Sunday Globe
"Warmly elegiac...A candid and engaging autobiographical account sketches his own almost obsessive trajectory through avid childhood reading....This profoundly reflexive process is skillfully described."
--The New York Times Book Review
"Provocative...Compelling...Powerfully conveys why reading matters, why it is both a delight and a necessity."
--The Harvard Review
Over the past eleven years, Greif has been publishing superb, and in some cases already famous, essays in n+1, the high-profile little magazine that he co-founded. These essays address such key topics in the cultural, political, and intellectual life of our time as the tyranny of exercise, the tyranny of nutrition and food snobbery, the sexualization of childhood (and everything else), the philosophical meaning of Radiohead, the rise and fall of the hipster, the impact of the Occupy Wall Street movement, and the crisis of policing. Four of the selections address, directly and unironically, the meaning of life—what might be the right philosophical stance to adopt toward one’s self and the world.
Each essay in Against Everything is learned, original, highly entertaining, and, from start to finish, dead serious. They are the work of a young intellectual who, with his peers, is reinventing and reinvigorating what intellectuals can be and say and do. Mark Greif manages to reincarnate and revivify the thought and spirit of the greatest of American dissenters, Henry David Thoreau, for our time and historical situation.
From the Hardcover edition.
—The Washington Post
A harrowing tour of "dictator literature" in the twentieth century, featuring the soul-killing prose and poetry of Hitler, Mao, and many more, which shows how books have sometimes shaped the world for the worse
Since the days of the Roman Empire dictators have written books. But in the twentieth-century despots enjoyed unprecedented print runs to (literally) captive audiences. The titans of the genre—Stalin, Mussolini, and Khomeini among them—produced theoretical works, spiritual manifestos, poetry, memoirs, and even the occasional romance novel and established a literary tradition of boundless tedium that continues to this day.
How did the production of literature become central to the running of regimes? What do these books reveal about the dictatorial soul? And how can books and literacy, most often viewed as inherently positive, cause immense and lasting harm? Putting daunting research to revelatory use, Daniel Kalder asks and brilliantly answers these questions.
Marshalled upon the beleaguered shelves of The Infernal Library are the books and commissioned works of the century’s most notorious figures. Their words led to the deaths of millions. Their conviction in the significance of their own thoughts brooked no argument. It is perhaps no wonder then, as Kalder argues, that many dictators began their careers as writers.
Pia Soto is the sexy and glamorous prima ballerina, the Brazilian bombshell who's shaking up the ballet world with her outrageous behaviour. She's wild and precocious, and she's a survivor. She's determined that no man will ever control her destiny. But ruthless financier Will Silk has Pia in his sights, and has other ideas . . .
Sophie O'Farrell is Pia's hapless, gawky assistant, the girl-next-door to Pia's Prima Donna, always either falling in love with the wrong man or just falling over. Sophie sets her own dreams aside to pick up the debris in Pia's wake, but she's no angel. When a devastating accident threatens to cut short Pia's illustrious career, Sophie has to step out of the shadows and face up to the demons in her own life.
Prima Donna is an excitingly glamorous novel from Karen Swan, author of the bestselling Christmas at Tiffany's.
George Balanchine chronicles the life and achievements of this visionary artist from his early, almost accidental career in Russia, where his lifelong collaboration with Igor Stravinsky was forged, to his extraordinary accomplishments in America. The editor and writer Robert Gottlieb, one of the most knowledgeable dance critics in America, offers a superb and loving portrait of a genius who, though married many times to many ballerinas, remained truest to his greatest love, Terpischore, the Greek Muse of dance.
Ballet For Dummies is for anyone who wants to enjoy allthat the dance forms offers – as an onlooker whowants to get a leg up on the forms you're likely to see or as anexercise enthusiast who understands that the practice ofballet can help you gainMore strengthGreater flexibilityBetter body alignmentConfidence in movementComfort through stress reductionInfinite grace – for life
From covering the basics of classical ballet to sharing safe andsensible ways to try your hand (and toes) at moving through theactual dance steps, this expert reference shows you how toBuild your appreciation for ballet from the ground up.Choose the best practice space and equipment.Warm up to your leap into the movements.Locate musical options for each exercise.Look for certain lifts in a stage performance.Tell a story with gestures.Picture a day in the life of a professional ballet dancer.Identify best-loved classic and contemporary ballets.Speak the language of ballet.
Today you can find a ballet company in almost every major cityon earth. Many companies have their own balletschools – some for training future professionals,and others for interested amateurs. As you fine-tune your classicalballet technique – or even if you just like toread about it – you'll become betterequipped to fully appreciate the great choreography and many stylesof the dance. Ballet For Dummies raises the curtain on aworld of beauty, grace, poise, and possibility!
"Jacqueline Smith-Autard has made significant contributions to the development of dance in education in the UK and abroad" National Dance Teachers Association
Dance composition - the discipline that translates ideas into dances - is an important part of dance education. This book, a bestseller for over twenty years, is a practical guide to creative success in dance making and is a popular textbook for all those who are interested in dance composition, from secondary school to university.
This new edition includes a DVD with video taken from Choreographic Outcomes, a groundbreaking advanced technology resource pack aimed at comprehensively improving students' choreography. The book has been revised, redesigned and expanded. Reference to the DVD examples are made throughout the book and new assignments based on the video material are included.
• Russell Baker • Willa Cather • Raymond Chandler • F. Scott Fitzgerald • Graham Greene • Edith Hamilton • Dashiell Hammett • Helene Hanff • Ernest Hemingway • Patricia Highsmith • Shirley Jackson • Henry James • W. Somerset Maugham • Mary McCarthy • Walter Mosley • Vladimir Nabokov • Patrick O'Brian • Barbara Pym • Phillip Roth • Vikram Seth • Isaac Bashevis Singer • C. P. Snow • Dylan Thomas • Evelyn Waugh • Edith Wharton • Laura Ingalls Wilder • Virginia Woolf
Each selection contains an entertaining discussion of what makes the book special, from an adventurous writing style to a unique sense of humor. The Majors also share insights about the authors and literary anecdotes, as well as recommend other gems on a similar subject or by the same author.
A literary companion to relish and refer to again and again, 100 One-Night Reads is a masterpiece in its own right!
From the Trade Paperback edition.
For readers reared on the dystopian visions of Nineteen Eighty-Four and The Handmaid's Tale, the idea of a perfect society may sound more sinister than enticing. In this lively literary history of a time before "Orwellian" entered the cultural lexicon, Michael Robertson reintroduces us to a vital strain of utopianism that seized the imaginations of late nineteenth-century American and British writers.
The Last Utopians delves into the biographies of four key figures--Edward Bellamy, William Morris, Edward Carpenter, and Charlotte Perkins Gilman—who lived during an extraordinary period of literary and social experimentation. The publication of Bellamy's Looking Backward in 1888 opened the floodgates of an unprecedented wave of utopian writing. Morris, the Arts and Crafts pioneer, was a committed socialist whose News from Nowhere envisions a workers' Arcadia. Carpenter boldly argued that homosexuals constitute a utopian vanguard. Gilman, a women's rights activist and the author of "The Yellow Wallpaper," wrote numerous utopian fictions, including Herland, a visionary tale of an all-female society.
These writers, Robertson shows, shared a belief in radical equality, imagining an end to class and gender hierarchies and envisioning new forms of familial and romantic relationships. They held liberal religious beliefs about a universal spirit uniting humanity. They believed in social transformation through nonviolent means and were committed to living a simple life rooted in a restored natural world. And their legacy remains with us today, as Robertson describes in entertaining firsthand accounts of contemporary utopianism, ranging from Occupy Wall Street to a Radical Faerie retreat.
What does theatre do for – and to – those who witness, watch, and participate in it?
Theatre& Audience provides a provocative overview of the questions raised by theatrical encounters between performers and audiences. Focusing on European and North American theatre and its audiences in the twentieth and twenty-first centuries, it explores belief in theatre's potential to influence, impact and transform. Illustrated by examples of performance which have sought to generate active audience involvement – from Brecht's epic theatre to the Blue Man Group – it seeks to unsettle any simple equation between audience participation and empowerment.
Foreword by Lois Weaver
A four-phase approach to the historical emergence of neoliberalism from the early 1970s to the present helps to clarify the complexity of the relationship between neoliberalism and literary culture. Layering that history over the diverse changes in a US-Anglo literary field that has moved away from postmodern forms and sensibilities, the book argues that many literary developments—including the return to realism, the rise of the memoir, the embrace of New Materialist theory, and the pursuit of aesthetic autonomy—make more coherent sense when viewed in light of neoliberalism’s ever-increasing expansion into the cultural sphere.
The essays gathered here engage a diverse range of theorists, including Michel Foucault, Wendy Brown, Giorgio Agamben, Bruno Latour, Maurice Merleau-Ponty, Gary Becker, and Eve Sedgwick to address the reciprocal relationship between neoliberalism and conceptual fields such as biopolitics, affect, phenomenology, ecology, and new materialist ontology. These theoretical perspectives are complemented by innovative readings of contemporary works of literature by writers such as Jennifer Egan, Ben Lerner, Gillian Flynn, Teju Cole, Jonathan Franzen, Chimamanda Ngozi Adichie, Salvador Plascencia, E. L. James, Lisa Robertson, Kenneth Goldsmith, and many others. Neoliberalism and Contemporary Literary Culture is essential reading for anyone invested in the ever-changing state of literary culture.
This book provides a clear and accessible introduction to key concepts of phenomenology in relation to theatre, showing how they shed light on the works of influential theatre-makers such as Brecht, Artaud, and Stanislavski. By placing these concepts in dialogue with theatre-makers, Johnston is able to demonstrate how philosophical ideas can be put to work in a theatrical context and how we can approach difficult theory from a practical perspective. Each chapter features exercises and topics for discussion to encourage readers to explore the ideas presented in more depth, making it an excellent resource for undergraduate and postgraduate students of theatre, performance studies, and philosophy.
Within the framework of the research project InnoLernenTanz at the Palucca University of Dance Dresden, in this book Jenny Coogan – professor of contemporary dance at the same institution – offers a forum in which she and guest authors consider questions such as:How are the parameters crucial to the understanding of contemporary dance, such as personal agency, actually embodied? How does the German system of dance education foster such parameters? How can somatic approaches contribute to encouraging dancers to experience their education from a first-person perspective of authority with enhanced self-reliance, self-reflection, and social consciousness? Practicing Dance: A Somatic Orientation includes accounts of field research, essays and interviews, as well as suggestions for studio practice that demonstrate the synergy between contemporary dance and the Feldenkrais Method. The range of perspectives offered invites critical reflection on methods to support young dance artists in embracing the twenty-first century challenges of professional performing careers.
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.