Libros de Danza, página 11 de 36

Selected as an outstanding book by University Press Books for Public and Secondary School Libraries Finalist for the 2003 Theatre Library Associations George Freedley Award Finalist for Independent Publisher Book Awards 2004 in the Photography category Winner of the 2005 Congress on Research in Dance award for Outstanding Publication in Dance Research Selected by Choice Magazine as an Outstanding Academic Title for 2005 This book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century. Nancy Reynolds is director of research for the George Balanchine Foundation and a former member of the New York City Ballet. She has written widely about ballet and modern dance and is the author of Repertory in Review, among other books. Malcolm McCormick is a former professional dancer and costume designer who was a member of the dance faculty at the University of California, Los Angeles, and guest lecturer at other universities for many years.

La memoria que nos une, en el conocimiento y amor por lo jondo, es lo que plasma este libro que se ha ido gestando a lo largo de 10 años en los programas que curso a curso se han impartido en la Sede de la Universidad de Alicante. Creación, conocimiento y emoción se han vivido año tras año en los otoños de UA y ahora se recoge, a manera de testimonio, en estas once conferencias que han sabido explorar desde distintas miradas (sociología, historia, musicología, fi losofía ) ese poliedro que es el fl amenco. Ideas y refl exiones en torno al arte jondo que queremos compartir con el lector para su disfrute.

Érase una vez, una escuela de danza que se preparaba una tarde para la apertura del nuevo curso. Los nuevos alumnos esperaban en la puerta pensando en un mundo mágico que allí dentro dormía en la tranquilidad de las vacaciones, y que estaba apunto de despertar para ellos. ¿Que esperaban encontrar esos niños y niñas de ojos incontrolablemente intensos? ¿Que pensais que alli descubrieron? ¿Creeis que obtuvieron lo que esperaban?Cada estudiante o profesional de la danza respondera dependiendo de lo que el vivio. Yo voy a dar mi respuesta con lo que a partir de ahora vais a encontrar en estas paginas.Con este libro se pretende cubrir una necesidad en el ambito de la danza infantil. Llenar el vacio que hay entre lo que los niños desean, entre el anhelo artistico, y lo que luego reciben en las escuelas. Atravesar el abismo existente entre el arte vivo y la enseñanza en las aulas. Todo ello a traves de un conjunto de actividades organizadas de manera didactica, orientadas desde una vision amplia: la danza como manifestacion artistica presente en todas las culturas, la danza como necesidad humana y como expresion de sentimientos y visiones del mundo.

With an extensive survey of existing ideas and groundbreaking new work, this book explores both cultural and theoretical questions such as: what is the relationship between music and ballet? How can

Ésta es la biografía vocacional de una artista, Gloria Contreras, que ha trazado su carrera a través del movimiento y la música. Su trabajo como bailarina y coreógrafa recibió su primer gran reconocimiento en Canadá y Estados Unidos, y las danzas que creó a instancias de algunas de las compañías de ballet más destacadas en la esfera mundial - como el City Center Ballet, el New York City Ballet y el Joffrey Ballet - le garantizaron un sitio en la historia de la danza desde los albores de su carrera. En 1970 fundó el Taller Coreográfico de la Universidad Nacional Autónoma de México - del que ha sido desde entonces directora y coreógrafa principal -, gracias al cual ha llevado la danza mexicana a múltiples escenarios y la ha puesto al alcance del público de todas las clases sociales.

At the New School for Social Research in 1931, the dance critic for the New York Times announced the arrival of modern dance, touting the "serious art" of such dancers as Mary Wigman, Martha Graham, and Doris Humphrey. Across town, Hemsley Winfield and Edna Guy were staging what they called "The First Negro Dance Recital in America," which Dance Magazine proclaimed "the beginnings of great and important choreographic creations." Yet never have the two parallel traditions converged in the annals of American dance in the twentieth century. Modern Dance, Negro Dance is the first book to bring together these two vibrant strains of American dance in the modern era. Susan Manning traces the paths of modern dance and Negro dance from their beginnings in the Depression to their ultimate transformations in the postwar years, from Helen Tamiris''s and Ted Shawn''s suites of Negro Spirituals to concerts sponsored by the Workers Dance League, from Graham''s American Document to the debuts of Katherine Dunham and Pearl Primus, from Josi Limsn''s 1954 work The Traitor to Merce Cunningham''s 1958 dances Summerspace and Antic Meet, to Ailey''s 1960 masterpiece Revelations. Through photographs and reviews, documentary film and oral history, Manning intricately and inextricably links the two historically divided traditions. The result is a unique view of American dance history across the divisions of black and white, radical and liberal, gay and straight, performer and spectator, and into the multiple, interdependent meanings of bodies in motion. Susan Manning is associate professor of English, theater and performance studies at Northwestern University. She is the author of Ecstasy and the Demon:Feminism and Nationalism in the Dances of Mary Wigman, winner of the 1994 de la Torre Bueno Prize for the year''s most important contribution to dance studies.