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The Oxford Handbook of Contemporary Ballet最新文献

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Performing the Past in the Present 在现在表演过去
The Oxford Handbook of Contemporary Ballet Pub Date : 2021-04-14 DOI: 10.1093/OXFORDHB/9780190871499.013.18
Rowan McLelland
{"title":"Performing the Past in the Present","authors":"Rowan McLelland","doi":"10.1093/OXFORDHB/9780190871499.013.18","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190871499.013.18","url":null,"abstract":"This chapter explores the conscious adoption, reformation, and indigenization of ballet in China in the mid-twentieth century to foreground how this historical development has contributed to the creation of a new genre of ballet unique to China in the contemporary period. Using The Red Detachment of Women (1964, [红色娘子军]) and the more recent Eight Heroines (2015, [八女投江]), the chapter highlights ballet’s contemporaneity in China at the convergence of the unique legacy of the sociopolitical reimagining of the form with tangible links to both the past and the present in ballet in the Global North as a modern transnational practice. It concludes that it is in its very divergence from the style of contemporary ballet more commonly performed in the West that Chinese contemporary ballet embodies the pluralistic cosmopolitan values that contemporary ballet adopts.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126148776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Contemporary Partnerships 当代的伙伴关系
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.12
R. Janzen
{"title":"Contemporary Partnerships","authors":"R. Janzen","doi":"10.1093/oxfordhb/9780190871499.013.12","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.12","url":null,"abstract":"This chapter seeks to determine what makes for a contemporary partnership on the ballet stage through an examination of gender roles and choreographic invention in three works created for the New York City Ballet in 2017. While choreographers often strive to make new, of-the-moment dances, traditional ballet training still holds strong, turning out dancers whose bodies and abilities adhere to ideals established long ago. This perpetuation of antiquated ideas of masculinity and femininity limits the ways in which ballet partnerships are able to reflect the world of today. After a brief overview of the expectations put on men and women in ballet, with an emphasis on partnering class and partnering techniques, the chapter looks at how Pontus Lidberg, Justin Peck, and Lauren Lovette, each utilizing different approaches, used choreography to craft contemporary partnerships in their new works for the New York City Ballet in 2017.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116215665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Talking Shop 清谈俱乐部
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.26
Roslyn Sulcas
{"title":"Talking Shop","authors":"Roslyn Sulcas","doi":"10.1093/oxfordhb/9780190871499.013.26","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.26","url":null,"abstract":"Justin Peck, Benjamin Millepied, and Troy Schumacher are all current or former New York City Ballet dancers who have established prominent choreographic careers. In the interviews presented in this chapter, they talk about their initial introductions to dance, their early dance training, their desire to begin to choreograph, their formative influences, their choreographic processes, and how they have been shaped by a “City Ballet” training and an immersion in its repertory. They also discuss the challenges of juggling the roles of dancer and choreographer, music as a primary source of inspiration, and whether they are interested in experimentation with ballet’s parameters.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122029650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Justin Peck 贾斯汀•派克
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.57
Mindy Aloff
{"title":"Justin Peck","authors":"Mindy Aloff","doi":"10.1093/oxfordhb/9780190871499.013.57","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.57","url":null,"abstract":"Justin Peck, barely thirty, not only is the resident choreographer at New York City Ballet (NYCB) but also is in demand by dance companies throughout the United States and in Europe. He received a Tony Award for his choreography for the 2018 Broadway production of Carousel, and Steven Spielberg hired him to choreograph Spielberg’s new film of West Side Story. This chapter focuses on Everywhere We Go, the spectacular “epic” that Peck and indie composer Sufjan Stevens made for NYCB in 2014, including discussions of Peck’s musicality, his composition of duets and use of sneakers in some dances, and influences he acknowledges from the works of George Balanchine and Jerome Robbins. At the end is an essay by Peck from 2008, “How to Become an Artist.”","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123888594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Liam Scarlett 利亚姆斯佳丽
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.44
S. Cooper
{"title":"Liam Scarlett","authors":"S. Cooper","doi":"10.1093/oxfordhb/9780190871499.013.44","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.44","url":null,"abstract":"This chapter examines the work and career of British choreographer Liam Scarlett (born 1986), former artist in residence at The Royal Ballet (2012-2020), and artistic associate with Queensland Ballet (2016-2020). This chapter charts Scarlett’s meteoric rise to become one of the most highly sought-after contemporary ballet creators, placing his oeuvre within the British ballet heritage and the wider international dance field of the twenty-first century. A Royal Ballet School graduate, Scarlett began his global career subsequent to his first major Royal Ballet commission in 2010; therefore, this account is of a choreographer in what may be seen as his early years. Scarlett’s output comprises both plotless and narrative one-act ballets and full-evening works. He also produced The Royal Ballet’s Swan Lake in 2018. Scarlett’s choreographic style is rooted in classical ballet in the British tradition, following Sir Frederick Ashton and Sir Kenneth MacMillan, yet he grew up in a culture where contemporary dance was popular and respected, and he has worked alongside radical creator Wayne McGregor at The Royal Ballet. Scarlett’s works show a clear influence of non-traditional balletic norms, and his narrative ballets tend towards darkly dramatic themes. His international career includes commissions for major ballet companies in Australia, the United States of America, New Zealand, Denmark and Norway, and key works include Asphodel Meadows (2010), Viscera (2012), and Frankenstein (2016).","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134179924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Costume 服装
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.2307/j.ctt2005xxv.5
C. O’Brien
{"title":"Costume","authors":"C. O’Brien","doi":"10.2307/j.ctt2005xxv.5","DOIUrl":"https://doi.org/10.2307/j.ctt2005xxv.5","url":null,"abstract":"Dress is integral to the performance of ballet, carefully considered in the collaboration between the choreographer and the designer. This chapter offers a broad introduction to thinking about “costume” as a term that is reserved for and relates to garments used for performance. It examines contemporary ballet costume through the conventions evidenced in the component parts of garments while emphasizing a tradition of making. Uniform is used in the training of a dancer so that dress is embedded in bodily practice, becoming a symbiotic partner in the dance. Contemporary ballet abandoned the form of the classical tutu and features leotards, bare legs, and pointe shoes or canvas slippers, flattening the hierarchy and blurring the gender lines.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132989234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Copy Rites 复制仪式
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.53
Rachana Vajjhala
{"title":"Copy Rites","authors":"Rachana Vajjhala","doi":"10.1093/oxfordhb/9780190871499.013.53","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.53","url":null,"abstract":"This chapter considers two contemporary versions of The Rite of Spring: Xavier Le Roy’s Le Sacre du Printemps and Jérôme Bel’s self-titled production. Because there is relatively extensive documentation of Nijinsky’s original choreography for the Rite, so-called reconstructions are widely known and available. But Le Roy and Bel seek to reimagine the ballet completely. Le Roy loosely “conducts” the score as it is piped out of speakers placed among the audience, thus inverting the traditional spatial and artistic dimensions of theatrical space. Bel drastically denudes his Rite, with naked dancers, a nearly bare stage, and a flimsy monophonic rendition of the gargantuan score. He embarks on a subcutaneous exploration of a dance performance to discover its most basic constituent parts. In reworking the ballet’s “original” materials, these artists expose some basic assumptions about music and dance as media, both as performance acts and as objects of study.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128673299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Ratmansky
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.54
Apollinaire Scherr
{"title":"Ratmansky","authors":"Apollinaire Scherr","doi":"10.1093/oxfordhb/9780190871499.013.54","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.54","url":null,"abstract":"This chapter explores how the work of post-Soviet choreographer Alexei Ratmansky pursues what he calls “a brilliant development that wasn’t actually fulfilled.” With a paradoxical faith in historical continuity (given the Stalin-era “interruption”), this Russian émigré takes up not only where early Soviet ballet left off in the mid-1930s but even before, with Marius Petipa before twentieth-century gigantism got its hands on him. Whether through the relaxed posture, the dizzying but nonchalant steps, the crosshatched steps, or the corps in relation to the soloist, Ratmansky’s ballets bring out what an authoritarian system—of nation, ballet troupe, or ballet—represses. This applies to all his work: the original creations, adaptations, and historical reconstructions. The chapter treats a wide swath of his ballets, with particular attention to Swan Lake, Russian Seasons, and The Shostakovich Trilogy.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128398266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
William Forsythe 威廉-福赛
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.33
S. Foster
{"title":"William Forsythe","authors":"S. Foster","doi":"10.1093/oxfordhb/9780190871499.013.33","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.33","url":null,"abstract":"This chapter situates the work of William Forsythe in relation to ballet as an institutionalized practice, examining the various ways that he both implemented and challenged basic tenets of the form. The chapter argues that as director of the Frankfurt Ballet, Forsythe slowly transformed the company from a machinery for the production of spectacle into a collective of choreographers who consistently reflected on their own processes of dancemaking. In devising entirely new vocabularies of ballet movement, reorienting the aesthetic goals of ballet performance, and reorganizing the functional operations of the ballet company, he profoundly changed ballet’s meaning and purpose and fundamentally intervened in its history.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"315 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134254864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 5
Weaving Apollo 编织阿波罗
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.6
Emily Coates
{"title":"Weaving Apollo","authors":"Emily Coates","doi":"10.1093/oxfordhb/9780190871499.013.6","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.6","url":null,"abstract":"This chapter, written by a former New York City Ballet dancer turned choreographer, critically examines the influence of George Balanchine’s Apollo on women’s authorship. Much has been written about the grip of patriarchal culture on ballet culture, as male leaders continue to dominate female muses and outmoded representations of gender persist. Balanchine famously granted his ballerinas interpretive range, while limiting their ability to choreograph. “Ballet is woman,” he declared, but women do not make the ballets. This chapter shifts the critical lens to the ways that a repertory, specifically an iconic ballet, can infiltrate a company’s consciousness—in this case, through a male god of classical Greek antiquity, reimagined through Igor Stravinsky’s score and Balanchine’s choreography, spanning nine decades of interpretation. Drawing on the project Incarnations, and a collaboration with Yvonne Rainer, the chapter argues for more complex choreographic strategies in contemporary work, as one way to disrupt and dismantle the inherited male creator/female muse paradigm embedded within neoclassical ballet.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131909408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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