<P>Drawing of the postmodern perspective and concerns that informed her groundbreaking Terpsichore in Sneakers, Sally Banes’s Writing Dancing documents the background and developments of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream.</P><P>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.</P>
Jadual kandungan
<P>WRITING CRITICISM/ HISTORY<BR>Jill Johnston: Signaling Through the Flames<BR>Working and Dancing: A Response to Monroe Beardsley’s ‘What is Going on in a Dance?’ with Noël Carroll<BR>Criticism as Ethnography<BR>On Your Fingertips: Writing Dance Criticism<BR>Power and the Dancing Body<BR>THE EURO-AMERICAN AVANT-GARDE<BR>Balanchine and Black Dance<BR>An Introduction to the Ballet Suedois<BR>Soiree de Paris<BR>Kasyan Goleizovsky’s Ballet Manifests<BR>Merce Cunnighams Story<BR>Cunnigham and Duchamp with Noël Carroll<BR>THE AFRICAN-AMERICAN CONNECTION<BR>To the Beat, Y’all: Breaking is Hard to do<BR>Breakdancing: A Reporter’s Story<BR>Lock Steady<BR>Critic’s Choice: Breakdancing<BR>Breaking<BR>A House is Not a Home<BR>Breaking Changing<BR>The Pleasin’ in Teasin'<BR>The Moscow Charleston: Black Jazz Dancers in the Soviet Union<BR>OTHER SUBCERSIONS: POLITICS AND POPULAR DANCE<BR>Stepping High: Fred Astaire’s Drunk Dances<BR>The Men at John Allen’s Dance House<BR>Red Shoes: The Workers’ Dance League of the 1930’s<BR>POSTMODERN DANCE: FROM THE SIXTIES TO THE NINETIES<BR>Judson Rides Again!<BR>Choreographic Methods of the Judson Dance Theater<BR>Vital Signs: Steve Paxton’s Flat in Perspective<BR>Meredith Monk and the Making of Chacon: Notes from a Journal<BR>Dancing from a Journal<BR>Dancing on the Edge<BR>’Drive, ‘ She Said: The dance of Molissa Fenely<BR>Self-Rising Choreography<BR>Transparent Living<BR>No More Ordinary Bodies<BR>Happily Ever After? The Postmodern Fairytale and the New Dance<BR>Pointe of Departure<BR>Classical Brinksmanship: Karole Armitage and Michael Clark<BR>Terpsichore in Sneakers, High heels, Jazz Shoes, and On Pointe: Postmodern Dance Revisited<BR>Dancing {with/to/before/on/in/over/after/against/away from/without} the Music: Vicissitudes of Collaboration in American Postmodern Choreography<BR>La Onda Próxima: Nueva Latina Dance<BR>Dance and Spectacle in the United States in the Eighties and Nineties<BR>Dancing in Leaner Times<BR>Going Solo<BR>Notes<BR>Index</P>
Mengenai Pengarang
<P>SALLY BANES is Professor of Theatre and Drama and Chair of the Dance Program at the University of Wisconsin, Madison. She has served as editor of Dance Research Journal and as a senior critic at Dance Magazine, and has published essays in numerous periodicals, including the Village Voice. Terpsichore in Sneakers: Post-Modern Dance (Wesleyan paperback, 1987) was the first exploration of postmodern dance.</P>
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