Pina dance film essay

Dance Research Journal,

Pina dance film essay

Dance Research Journal, Review of The Returns of Alwin Nikolais: Bodies, Boundaries, and the Dance Canoneds. Claudia Gitelman and Randy Martin.

In The Routledge Encyclopedia of Modernism [digital], ed. The Mob Without Flashed. Ingrid Cogne and Marika Hedemeyr I am a choreographer, dramaturg, and curator, and work with a variety of collaborators to make multimedia dance theater performances. Check out an interview with us about the project, selected reviewsand an essay I wrote.

For a full list of performances and other related events, see Upcoming. We have also just premiered a new project with Astad Deboo: My other current choreography project is Breath Cataloguewhich combines choreographic methods with medical technology to create a cabinet of breath curiosities in performance.

I am currently developing the second phase of this work in connection with the Wellcome Trust-funded Life of Breath project, and the Respiratory Unit at Southmead Hospital.

I am also choreographer and dramaturgical consultant for SIX. From toI was on the editorial board for the wonderful and now gone Dance Theatre Journal. If you work in a department of Theatre and Dance and you have an annual department retreat, I do think everyone should buy this book and read it and talk about it together.

Elswit tackles some of the central issues in how dance history is researched and narrated, and her points are all the more convincing because they are supported by meticulous research.

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Watching Weimar Dance should be a welcome addition to dance studies, German studies, and as a model for interdisciplinary scholarship on the body. Approaching Weimar dance as a series of eventful and relational encounters, in which spectators contributed as much to the generation of meaning as the performers themselves, the book rediscovers modern dance both as a specific medium and as a forum shot through with broader issues of visual and corporeal culture.

She begins with an important reorienting of German dance within the first few decades of the twentieth century, commonly articulated in dance histories as Ausdruckstanz, and reframes it as Weimar Dance, a more inclusive term that embraces not only concert dance, but also popular forms of cabaret, revue, an experimental theater.

Through meticulous archival analysis, in conversation with contemporary ideas in dance studies, Elswit shows how audiences saw things in performance that could not have occurred, but instead reveal the scocial anxieties that audiences experienced during this period.

She persuasively argues in lucid prose how viewing German dance in different national contexts, and at different temporal moments, complicated political investments and the histories that we construct in response to dance.

Watching Weimar dance demonstrates eloquent and engaging dance research that is thoroughly deserving of the Oscar G.I went to a dinner party at a friend’s home last weekend, and met her five-year-old daughter for the first time. Little Maya was all curly brown hair, doe-like dark eyes, and adorable in her shiny pink nightgown.

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I wanted [ ]. Jango is about making online music social, fun and simple. Free personal radio that learns from your taste and connects you to others who like what you like.

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Pina dance film essay

The Envelope Live is the only resource you need for FYC season. Attend screenings, talks, roundtables and insider events with the industry’s most important players.

The drama about conversion therapy is a showcase for the actor who excels at boy-next-door roles. The Film Society of Lincoln Center announces The Female Gaze (July 26 – August 9), spotlighting the amazing work of such accomplished international female cinematographers as Agnès Godard, Natasha Braier, Kirsten Johnson, Joan Churchill, Maryse Alberti, Ellen Kuras, Babette Mangolte, and Rachel.

Pina dance film essay
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