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The Oxford Handbook of Contemporary Ballet最新文献

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Christopher Wheeldon
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.32
Rachel Straus
{"title":"Christopher Wheeldon","authors":"Rachel Straus","doi":"10.1093/oxfordhb/9780190871499.013.32","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.32","url":null,"abstract":"In 2000, English-born Christopher Wheeldon became the first artist-in-residence at New York City Ballet (NYCB). The press compared his choreography to George Balanchine’s. This chapter discusses Wheeldon’s critically acclaimed NYCB ballet Polyphonia (2001) in relation to the “thick narrative” of the company’s history. It argues that Wheeldon’s collaborations with NYCB dancers Wendy Whelan and Jock Soto, in Polyphonia and other works, produced a unique aesthetic, one that transcended Balanchine’s neoclassical legacy. The chapter ends by considering how Wheeldon’s controversial decision to direct the Broadway musical about Michael Jackson is not out of character, but emblematic of his propensity to embrace the role of an outsider, who works to understand the unfamiliar and who surpasses what is expected of him.","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":"124728951","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
Mark Morris 马克莫里斯
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.52
Gia Kourlas
{"title":"Mark Morris","authors":"Gia Kourlas","doi":"10.1093/oxfordhb/9780190871499.013.52","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.52","url":null,"abstract":"Mark Morris has consistently created sophisticated ballets full of nuance, restraint, and musicality. Though he is known best as a modern dance choreographer, his ballets constitute an important part of his creative power. This chapter examines his works created for companies including American Ballet Theatre (ABT) and San Francisco Ballet; pays homage to his collaborative relationship with the designer Isaac Mizrahi; and includes the insight of several of the dancers who graced his ballets, including Mikhail Baryshnikov, who commissioned Morris’s first work for ABT: Drink to Me Only with Thine Eyes. Such interviews reveal Morris’s influence beyond the stage. When considered as a whole, the ballets, exceptional for their individual look and temperament, remain timeless: they celebrate the beauty of unaffected dancing.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"26 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":"124948838","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: 6
Mauro Bigonzetti
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.9
Kathrina Farrugia-Kriel
{"title":"Mauro Bigonzetti","authors":"Kathrina Farrugia-Kriel","doi":"10.1093/oxfordhb/9780190871499.013.9","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.9","url":null,"abstract":"In 1990, Mauro Bigonzetti choreographed his first ballet, Sei in Movimento (Six in Motion), for Aterballetto, a pioneering ballet company set up in 1979 in the Emilia Romagna region of Italy. Over the course of the 1990s, an emergent, multifaceted choreographic identity began to evolve in his work, entwining the cultural and historical influences that inhabited the creative spaces of Aterballetto in Reggio Emilia. The chapter identifies the (dis)placed stylistic heritage that emerges from Bigonzetti’s choreography, including his reimagining of Bronislava Nijinska’s Les Noces (1923). This chapter articulates Bigonzetti’s artistic contributions throughout the end of the twentieth and early twenty-first centuries within the context of Italian contemporary ballet.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"435 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":"122876527","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
Cathy Marston 凯茜马斯顿
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.22
Deborah Kate Norris
{"title":"Cathy Marston","authors":"Deborah Kate Norris","doi":"10.1093/oxfordhb/9780190871499.013.22","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.22","url":null,"abstract":"British choreographer Cathy Marston has sustained a choreographic career for more than three decades. Her work crosses European ballet cultures and extends from her classical training into a current contemporary ballet context. Focusing on Marston’s narrative works, this chapter demonstrates her position as a translator of literary texts, specifically Charlotte Brönte’s Jane Eyre. Through a dual-layered exploration of her choreographic process, the chapter offers an examination of her use of European theater practices and design strategies, including regietheater, suggesting her liminal positioning between Continental and British stylistic traits. Furthermore, the chapter discusses the collaborative construction methods used by Marston through a descriptive analysis of the development of Jane Eyre, a ballet created for Northern Ballet (Leeds) in 2016.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"114 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":"116489011","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
James Kudelka
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.8
Amy Bowring, Tanya Evidente
{"title":"James Kudelka","authors":"Amy Bowring, Tanya Evidente","doi":"10.1093/oxfordhb/9780190871499.013.8","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.8","url":null,"abstract":"James Kudelka glides comfortably between the worlds of ballet, modern dance, and postmodern dance. As one of Canada’s most prolific choreographers, he has a repertoire that bridges classical and contemporary modes as he moves skillfully between revisiting classical behemoths such as Swan Lake and creating entirely new works driven by his masterful relationship to music and his ability to push the boundaries of ballet vocabulary and partnering. This chapter contextualizes Kudelka’s work within the historical narrative of ballet in Canada and his impact on the repertoires of the National Ballet of Canada and Les Grands Ballet Canadiens. Kudelka’s dominant themes of love, sex, and death; his vocabulary and strong emphasis on artistic collaboration; and his musical awareness are all crucial elements of his creative process and are integral to his exploration of the human condition through ballet.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"3 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":"129027874","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
Transmitting Passione Transmitting激情
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.51
Sarah Pini, J. Sutton
{"title":"Transmitting Passione","authors":"Sarah Pini, J. Sutton","doi":"10.1093/oxfordhb/9780190871499.013.51","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.51","url":null,"abstract":"This work addresses the case of the Ballet National de Marseille (BNM) and the 2017 recreation of the piece Passione, created by the artistic directors Emio Greco and Pieter C. Scholten. This study, informed by a phenomenological approach, adopts ethnographic methods, including participant observation, in-depth interviews, and one researcher’s direct involvement with the practices of enculturation and enskillment in this dance form. It investigates how the dancers of the BNM articulate their diverse forms of agency in relation to the choreographer’s artistic vision and demands. By looking at the specific case of the BNM staging of Passione, we can isolate some significant features of contemporary ballet’s trajectory as an emergent dance genre on the edge between innovation and tradition.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"44 4 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":"134382269","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
Ballet Austin 芭蕾舞奥斯汀
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.5
C. Clark
{"title":"Ballet Austin","authors":"C. Clark","doi":"10.1093/oxfordhb/9780190871499.013.5","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.5","url":null,"abstract":"From 2006 to 2014, the professional US company Ballet Austin hosted an ambitious biennial competition, New American Talent/Dance, as an experimental platform to support “emerging” choreographers. However, after five seasons of this competition and despite self-reported success in meeting project goals to provide new learning experiences for participating choreographers, dancers, and audiences, Ballet Austin suspended the event. The reasons behind this decision, along with the insights gained through the process of producing these shows, reveal dimensions of US contemporary ballet in practice. This chapter illuminates how ballet pedagogy often fails the needs of contemporary ballet artists in the education of both future choreographers and the dancers who work with them, impacting not only the lives and careers of these artists but also, more generally, field aesthetics and development. The research further describes how audiences judged emerging choreographers, an analysis that may inform future lines of inquiry with regard to contemporary ballet and the sustainability of the field in the United States.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"639 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":"116085578","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
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.23
Ann Nugent
{"title":"William Forsythe","authors":"Ann Nugent","doi":"10.1093/oxfordhb/9780190871499.013.23","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.23","url":null,"abstract":"William Forsythe questions the nature of dance and ways of thinking about choreography. Searching to bring ballet’s past into a new, and sometimes strange, present, he scrutinizes classically ordered systems. He initiates processes of deconstruction that enable the body to move into multiple kinespheres, linking his findings to improvisation strategies that change the bodily architecture. Thus distinctions blur between the dance’s outer appearance and the dancers’ inner awareness. In this chapter, Forsythe’s direction of the Ballett Frankfurt, and before that as a choreographer with the Stuttgart Ballet, is explored. The concept of the Forsythescape is introduced as a metaphor for a choreographic landscape that draws on different styles, identities, and social/cultural approaches. Focus turns to Artifact and Eidos:Telos, two long works of labyrinthine complexity. They change entrenched habits of looking at dance—and help to explain why the American Forsythe is renowned across the globe.","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":"126064399","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
Inside Enemy 内部的敌人
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.19
T. McManus
{"title":"Inside Enemy","authors":"T. McManus","doi":"10.1093/oxfordhb/9780190871499.013.19","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.19","url":null,"abstract":"The first part of this chapter was initially published in German in 2004. It offers a firsthand look into what it is like to be onstage and inside the mind of a dancer as he propels himself through a furious solo choreographed by William Forsythe for the contemporary ballet Enemy in the Figure. The second part explains the parameters of improvisation which Forsythe and his ballet practitioners in Frankfurt experimented in the time leading up to the creation of Enemy. It shows how those experiments led them to rethink, and partially deconstruct, their daily practice of ballet training. The chapter, offering quotes from interviews with Forsythe as well as from previously published articles about this ballet, explains why Enemy in the Figure continues to be one of the most celebrated and performed ballets in the entire Forsythe repertory.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"218 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":"115590546","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
Amy Seiwert
The Oxford Handbook of Contemporary Ballet Pub Date : 1900-01-01 DOI: 10.1093/oxfordhb/9780190871499.013.21
A. Murphy
{"title":"Amy Seiwert","authors":"A. Murphy","doi":"10.1093/oxfordhb/9780190871499.013.21","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190871499.013.21","url":null,"abstract":"This chapter describes the career of Amy Seiwert, a Bay Area choreographer who, over a period twenty years, moved from neoclassical ballerina to full-time contemporary ballet choreographer with a desire to reformulate the classical dance lexicon. Her goal was to create dances, as well as dance practices, that could maintain the beauty of the classical language while reflecting and commenting on the realities of contemporary life. Thanks to the experimental dance scene in San Francisco, California, she eagerly exposed herself to the many choreographic tools long familiar in contemporary and postmodern dance. These included improvisation, scoring, movement games, and aleatory processes, all of which are organized forms of play. Play, and the agency and daring it requires, brought forth new, imaginative embodiments of movement problems and strategies for Seiwert; through them she has been able to address pressing social and existential questions and prove contemporary ballet’s relevance to the twenty-first century.","PeriodicalId":412686,"journal":{"name":"The Oxford Handbook of Contemporary Ballet","volume":"138 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":"115688220","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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