Libros de Danza, página 11 de 36

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.

The authoritative first history of an international cultural phenomenon. The Story of Irish Dance is of interest to the general reader and as a source for scholars of Irish dance, dance anthropology, folklore and cultural studies. It is a book well worth reading. The Irish Times A serious study, which succeeds in being both entertaining and stimulating. Irish News

A critic and writer on dance for well over twenty years, Barbara Newman has gone in search of teachers and coaches, directors, choreographers and stagers - former dancers who had turned the focus of their own experience on others - to explain the state of ballet today. Among leaders of the dance world the author interviewed were Suki Schorer, Helgi Tomasson, Mark Morris, Violette Verdy and 14 other artists whose work she knew and respected, most of them active outside of New York and London. Newman is not interested in dance as an aesthetic abstraction, and the people who answered her questions were not speaking theoretically. On the contrary, her speculation and their responses bring an elusive subject down to earth, illuminating a process that reaches back in history and forward to today, though its dreams are of a world no one can imagine.

Known by many as the greatest dancer of her time, Isadora Duncan was the matriarch of creative self-expression. A pioneer in the dance world and the women''s movement, her name is synonymous with originality, spontaneity and intrigue. The first woman to break simultaneously the barriers of art, love, fashion, sex, religion and marriage, Dorothy Parker christened her "Duncan disorderly", praising her as "magnificent, generous, gallant and fated". This biography aims to do justice to the life of this unforgettable and exceptional woman. Duncan''s was a life marked by tragedy - she never recovered from the accidental drowning of her two small children and was plagued by alcoholism. She died in a car accident in 1927; her scarf becoming entangled in the wheel of her car during a joy ride on the French Riviera and strangling her. "Isadora" aims to unshroud the mystery behind this passionate artist and tell the most accurate account of her life yet.

Un recorrido de dos décadas por los principales escenarios españoles durante la denominada Era Romántica; un acercamiento a la valoración del público español y de la prensa del momento sobre la puesta en escena de significativas obras del repertorio roman

La danza moderna es una forma de expresión corporal que nace de la transposición por el bailarín, mediante una formulación personal, de un hecho, una idea, una sensación o un sentimiento. Esta danza moderna se convierte en una forma de ser para el hombre que quiere hablar con su cuerpo bailando descalzo. De ahi la necesidad permanente para el bailarin de danza moderna de encontrar en si mismo los principios de una tecnica que, lo mismo que en la danza clasica, este sujeta a determinadas reglas. Pero las normas son distintas tanto en el aspecto tecnico como en lo que atañe al origen de la motivacion del movimiento. Un bailarin moderno debe inventar y reinventar una y otra vez, permanentemente, una fraseologia del movimiento para que este conserve siempre el caracter de inedito y traduzca la interiodad de quien lo ejecuta. La danza moderna es un producto del siglo XX y sigue siendo un fenomeno especificamente americano. Pero desde la decada de los años sesenta presenciamos una expansion hacia el mundo entero. El descubrimiento de la danza moderna despierta un interes cada vez mayor en numerosos jovenes, que experimentan la necesidad de encontrar en si mismos un nuevo modo de expresion corporal.

De las calles de La Habana a los más bellos teatros de Europa,esta es la emocionante historia del salto al estrellato de un jovenbailarín, escrita con las propias palabras del protagonista.En 1980, Carlos Acosta era otro niño pobre cubano apasionadodel futbol y con un espiritu libre. Miembro de una pandillacallejera y atraido por el break dance, su padre lo inscribioen una escuela de ballet para potenciar su innegable talentoy llevarlo por el buen camino. En la actualidad aquel niño esun adulto que vuela por los aires con gracia y poderio incomparables,como suspendido en el espacio. Un talento que fuecincelado con años de soledad, marginacion y una estricta autodisciplina.La estrella de ballet cubano se ha ganado su famacon sangre, sudor y muchas lagrimas.¿Que hay detras de la magia de su arte? ¿Como se convierteun niño cubano que baila en la calle en una estrella de balletmundial? En esta obra se revela la verdadera historia.