Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire.
Ebook Edition Note: All images have been redacted.
Senses in Performance presents a multifaceted approach to the methodological, theoretical, practical and historical challenges facing the scholar and the artist. This volume examines the subtle actions of the human senses including taste, touch, smell and vision in all sorts of performances in Western and non-Western traditions, from ritual to theatre, from dance to interactive architecture, from performance art to historical opera.
With eighteen original essays brought together by an international ensemble of leading scholars and artists including Richard Schechner and Philip Zarrilli. This covers a variety of disciplinary fields from critical studies to performance studies, from food studies to ethnography from drama to architecture.
Written in an accessible way this volume will appeal to scholars and non-scholars interested in Performance/Theatre Studies and Cultural Studies.
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 performance that create sexual and gendered meanings
* examines how women's agency is created in dance through aspects of choreographic structure and style
* analyzes a range of women's images - including brides, mistresses, mothers, sisters, witches, wraiths, enchanted princesses, peasants, revolutionaries, cowgirls, scientists, and athletes - as well as the creation of various women's communities on the dance stage
* suggests approaches to issues of gender in postmodern dance
Using an interpretive strategy different from that of other feminist dance historians, who have stressed either victimization or celebration of women, Banes finds a much more complex range of cultural representations of gender identities.