Libros de Danza, página 10 de 36

Entre consejos artísticos y existenciales dirigidos a un joven aprendiz, el célebre coreógrafo y bailarín Maurice Béjart crea en estas cartas un relato de matices autobiográficos, en el cual se suceden los viajes, las lecturas, las opiniones esteticas, las experiencias con otros artistas, la influencia de la filosofia y las religiones orientales. Pero el centro es siempre uno: la danza, la vida y aquel Dios bailarin que proponia Nietzsche.

" indestructible, coeur de midinette, poumon d'acier, délavé, ravivé, tapi sous le déluge de la musique mondialisée, prêt à bondir, increvable chanson qui rallie même les enfants égarés du "rockanrol". c'est bien de tango qu'il sera question dans ce livre. " a la fin du xixe siècle naissait dans les quartiers louches de buenos aires une passion brûlante nommée tango. de l'âge d'or des années 1940 à la formidable renaissance actuelle après l'étouffement de la dictature, tangos dévoile toute la diversité d'une culture universelle, qui, dans l'atmosphère fiévreuse des milongas argentines ou des bals des quais de seine, tire sa richesse et sa substance de la danse, de la poésie populaire et de la musique du rio de la plata. modestes et grands serviteurs du genre défilent à travers l'ouvrage, danseurs anonymes ou stars de la scène, chanteurs de quartier et bandonéonistes vedettes, tous porteurs de la mélancolie propre à cette fameuse " pensée triste qui se danse ". porté par le regard d'un passeur impliqué et superbement illustré, tangos nous invite à un voyage envoûtant au coeur de l'âme tanguera. " il y aura des femmes et des guitares, fatales ou non. des ruses de trottoir et des poètes désenchantés, une danse impérieuse et fragile. en amoureux partage des tangos à venir. ".

PASKEVSKAAnna Paskevska offers new ways to understand the ballet vocabulary in terms of the most recent understanding of the body and how it moves. Ballet Beyond Tradition offers new ways to understand the ballet vocabulary in terms of the most recent understan of the body and how it moves.

L'image de la ballerine du Lac des cygnes a souvent résumé à elle seule la danse.Puis peu à peu, libérée du cliché de divertissement mondain, la danse est devenue un moyen d'expression aussi

'Rush' was the first group piece made by Akram Khan, already a celebrated and exciting young solo performer, whose unique Contemporary Kathak style had won critical and popular acclaim. Rush was pivotal in establishing Khan's own company and launched him on a meteoric and international career.This book will be an invaluable resource. It provides material and information for both teachers and students to support study of the work. It will also be useful to those teaching dance at a range of other levels. The book provides an insight into the creation of Rush.Part 1 provides biographical information on the three collaborators, Akram Khan, Michael Hulls and Andy Cowton. It places Rush within the artistic context of their careers.Part 2 explores the background context of Kathak and the development of South Asian dance in the UK. A list of useful resources is provided for study of these aspects.Part 3 gives insight into the starting points for Rush and outlines the contributions of the choreography, music and lighting design.Part 4 lays out an analytical overview of Rush and suggests a range of practical and theoretical tasks for the teacher to use. These include detailed questions on each section of Rush and its elements in order to guide students through an appropriate process for making an interpretation of the work. Appendices provide further contextual information, resources and a bibliography.As with White Man Sleeps, the first Creative Insights published by Dance Books, Rush: Creative Insights provides an in-depth exploration of a single dance and its background contexts. It will be of interest to a wide range of readers including teachers and students of dance and those wanting information about new developments within contemporary or South Asian dance. For those interested in Akram Khan in particular, this is the first in-depth account of his work.

Es éste un libro escrito en primera persona. Un libro que cuenta la aventura vital e intelectual de quien, desde su Valencia natal en una España en la que “no era precisamente aceptado con facilidad que un chico decidiera consagrar su vida a la danza”, emprende un camino que le llevará a convertirse en el coreógrafo español más influyente de nuestro país y uno de los más solicitados del mundo. Un camino que ha durado años de esfuerzo y trabajo. Cuenta Duato su admisión en la Rambert School de Londres, su paso por la escuela de Mudra de Bruselas con el prestigioso Maurice Béjart a la cabeza, su estancia en la Alvin Aley Dance Center de Nueva York y en el Cullberg Ballet de Estocolmo, así como el paso decisivo que supuso para él su incorporación al Nederlands Dans Theater de La Haya, cuando fue llamado por su director, Kirí Kylián.Allí puso en escena sus primeras coreografías. Una de ellas, Jardí Tancat, acabaría formando parte del repertorio de más de 40 compañías.“Probablemente –escribe Duato– no haya muchos días en el año en el que no se baile en algún rincón del globo”.

Itelman, AnaCon este texto, Rubén Szuchmacher nos hace llegar uno de los pensamientos más relevantes y significativos de la historia de la danza en Argentina. Haber emprendido esta tarea de recopilacion, mas alla de ser un esfuerzo meritorio en si mismo, resulta absolutamente necesario en un medio que se caracteriza por la carencia teorica, por restar importancia al legado de escritos y por olvidar el trabajo de los artistas. Este Archivo pone al alcance de los bailarines y coreografos de hoy la ideologia poetica y pedagogica de Ana Itelman, acuñada dentro de un preciso lenguaje coreogratico, a la vez que traduce sin traicionar ni tergiversar su filosofia artistica. El texto no intenta simplemente informar, tampoco construir una detallada exegesis mas o menos academica de la obra de Ana, sino que nos pone al alcance reflexiones que abrieron nuevos horizontes reformulando la dramaturgia de la danza contemporanea en Argentina.

ROSS MCKIMThe London Contemporary Dance Theatre was celebrated internationally for the choreographic innovation that flowed out of it and for the technical and artistic power of its dancers. This title represents a search towards the discovery of the essential inheritance of the Theatre

Lorna SandersFront Line is currently chosen as the set work on the GCSE Performing Arts: Dance specification. This book will be an invaluable resource. It provides material and information for both teachers and students to support study of the work. It will also be useful to those teaching dance at a range of other levels. Front Line has become something of a signature piece for the Henri Oguike Dance Company, being in demand since their first performance of it in 2002. Sanjoy Roy, writing for the journal Dance Now hailed the work as 'being in a class of its own'. Henri Oguike, a founder member of the Richard Alston Dance Company and winner of a prestigious Jerwood Award for young choreographers in 1997, created his own company in 1999. His devotion to the primacy of the relationship between music and dance quickly earned him critical acclaim and in 2001 he received the Time Out Award for the Most Outstanding New Company. In 2003 the Arts Council England sponsored the filming of Front Line. The book provides an insight into the creation of Front Line. Part 1 provides biographical information on the three collaborators Henri Oguike, Guy Hoare (lighting designer) and Elizabeth Baker (costume designer). It places Front Line within the artistic context of their careers. Details are also given on Dimitry Shostakovich (the composer of the music). Part 2 explores the background context of contemporary dance in the UK and suggests useful resources for study of these aspects. Part 3 gives insight into the starting points for Front Line and outlines the contributions of the choreography, music and lighting design. Part 4 lays out an analytical overview of Front Line and suggests a range of practical and theoretical tasks for the teacher to use. A chart is included giving details of a variety of dances that can be used as comparison and contrast with Front Line to enable teachers to plan their GCSE courses. Appendices provide further contextual information, resources and a bibliography. This is the third Creative Insights published by Dance Books. Along with White Man Sleeps and Rush, Front Line: Creative Insights provides an in-depth exploration of a single dance and its background contexts. It will be of interest to a wide range of readers including teachers and students of dance and those wanting information about contemporary dance in the UK. This is the first in-depth account of H

Author: Mathilde Kschessinka Translator: Arnold L. HaskellThere have been wonderful books about dancing, and superbly evocative ones about old Russia: but here the two themes are fascinatingly wedded. For these are the memoirs of the prima ballerina assoluta of the imperial Russian ballet, Mathilde Kschessinska (the Princess Romanovsky-Krassinsky), with whom, at her first appearance, the Tsarevitch Nicholas fell in love. As a dancer she had few rivals: apart from her marvellous technique she had a star personality, and was adored by the public. At the height of her fame she appeared in London with Diaghilev's company and danced with Nijinsky: she preferred, however, to dance in Russia, and for twenty years she was the adored darling of the great world of Petersburg. After the Revolution, when she was living as an emigre in the South of France, Diaghilev begged her to dance for him in his new Paris season, but to no avail. Kschessinska's memoirs fall roughly into three parts: the glittering fairy-story of her life as prima ballerina in Russia her flight during the Revolution and the era in which she established herself as a teacher of the highest rank. It is an extraordinary self-revelation of a great dancer and an utterly human person.

El cuerpo en movimiento, la afectividad y el pensamiento se encuentran en la raíz de todos los aprendizajes, por tanto, la danza como alternativa de trabajo en el área de educación física se convierte en un ejercicio completo que proporciona gran provecho al individuo en los aspectos físico, psíquico y social. El contenido de este libro pretende ser una sugerencia donde la danza se convierte en una alternativa educativa, que justifica y desarrolla en su enriquecimiento, las posibilidades comunicativas, lúdicas y expresivas cumpliendo objetivos tan claros e importantes como: la participación e integración entre niñ@s, el desarrollo de la capacidad creativa, la desinhibición por medio de la sensibilización con la ayuda de la música, el desarrollo del ritmo, la dimensión espacio-temporal y la conciencia de sí mismo. El libro se encuentra dividido en dos partes: la primera consta de ocho danzas tradicionales internacionales; la segunda parte consta de diez bailes de salón o bailes sociales. En cada una se presenta, una corta reseña histórica, la descripción del vestuario, los pasos básicos, la coreografía y las gráficas correspondientes....

Rebecca Harris-Warrick Italian ballet in the eighteenth century was dominated by dancers trained in the virtuoso style that combined French ballet technique with a vigorous athleticism that made Italian dancers in demand all over Europe. Gennaro Magri's Trattato teorico-prattico di ballo, the only work from the eighteenth century that explains the practices of midcentury Italian theatrical dancing, is a starting point for this investigation of an influential type of ballet and its connections to the operatic and theatrical genres of its day. Illustrations, music examples, and dance notations supplement the text.

Judith BennahumTHE LURE OF PERFECTION: FASHION AND BALLET, 1780-1830 offers a unique look at how ballet influenced contemporary fashion and women's body image, and how street fashions in turn were reflected by the costumes worn by ballet dancers. Through years of research, the author has traced the interplay between fashion, social trends, and the development of dance. During the 18th century, women literally took up twice as much space as men; their billowing dresses ballooned out from their figures, sometimes a full 55 inches, to display costly jewelry and fine brocade work; similar costumes appeared on stage. But clothing also limited her movement; it literally disabled them, making the dances themselves little more than tableaux. Movement was further inhibited by high shoes and tight corsets; thus the image of the rigidly straight, long-lined dancer is as much a product of clothing as aesthetics. However, with changing times came new trends. An increased interest in natural movement and the common folk led to less-restrictive clothing. As viewers demanded more virtuosic dancers, women literally danced their way to freedom. THE LURE OF PERFECTION will interest students of dance and cultural history, and women's studies. It is a fascinating, well-researched look at the interplay of fashion, dance, and culture-still very much a part of our world today.

M. Berardi, Berardi BerardiFinding Balance: Fitness, Training, and Health for a Lifetime in Dance gives an overview of issues faced by all performing dancers: injury and treatment; technique and training; fitness; nutrition and diet; and career management. The text includes both easy-to-read overviews of each topic and "profiles" of well known dancers and how they have coped with these issues. The new edition includes: DT Updated and new profiles DT Expanded injury and injury treatment information DT Updated dance science and physiology findings, and new references DT Updated diet guidelines DT Expanded and updated "Taking Control" section It concludes with a list of selected dance/arts medicine clinics, a bibliography, glossary, and text notes.