By Alexandra Carter
Represents the diversity and variety of writings on dance from the mid-to-late twentieth century, supplying modern views on ballet, sleek dance, postmodern 'movement functionality' jazz and ethnic dance. publication conceal; identify; Contents; Acknowledgements; record of members; common creation; advent; Choreographers: dancing for de Valois and Ashton; Torse: there are not any mounted issues in area; 'No' to spectacle; Pina Bausch: dance and emancipation; Imaginary homelands: making a new dance language; creation; Dancers conversing approximately functionality; i'm a dancer; A dancing cognizance; Spacemaking: studies of a digital physique; advent; Bridging the severe distance; among description and deconstruction; Oh, That Pineapple Rag!; Spring: Ashton's Symphonic adaptations in the USA
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Extra info for The Routledge dance studies reader
But I still remember Ashton’s choreography as marvellously balanced, full of power and romance, and above all—beautiful. Frederick Ashton aimed at beauty. Ninette de Valois aimed at truth. That was the difference between them. 28 3 TORSE: THERE ARE NO FIXED POINTS IN SPACE Merce Cunningham with Jacqueline Lesschaeve JACQUELINE LESSCHAEVE: Merce Cunningham, the choreography for classical or modern dancers follows often predictable sequences: mainly soloists doing variations in relation to (or against) a background of a group of dancers.
Further substantial bibliographic details can be found in computer data bases (such as the New York Public Library catalogue’s CD-Rom, Dance on Disk) and in bibliographic collections such as Bopp (1994) and Getz (1995). Further primary sources can be found in anthologies such as Cohen’s Dance as a Theatre Art (1st edn. 1974) and Copeland and Cohen’s What is Dance? (1983). The appendices in Adshead-Lansdale and Layson (1994) include a useful annotated guide to anthologies, encyclopaedias, journals, etc.
Unlike de Valois, he was not a natural autocrat. Again we were shown a picture book, this time of engravings by Flaxman of Dante’s Inferno, where bodies happily spiralled up to heaven or tumbled in agony down to hell. As so often, Constant Lambert, our conductor, collaborated with the planning and suggested the music. In a broadcast he later explained, ‘The general layout, by which I mean not the dancing as such but the association of various characters with various themes and the general dramatic sequence, was then established by Ashton and myself.