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3063 results in Dance

Page 111 of 154

  • Editor's Note

  • Journal:
    Dance Research Journal / Volume 25 / Issue 2 / Fall 1993
    Published online by Cambridge University Press:
    22 July 2014, p. 75
    Print publication:
    Fall 1993
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  • Performance, Transformation, and Community: Contra Dance in New England

  • Dorothea E. Hast
  • Journal:
    Dance Research Journal / Volume 25 / Issue 1 / Spring 1993
    Published online by Cambridge University Press:
    22 July 2014, pp. 21-32
    Print publication:
    Spring 1993

  • This article is part of a larger work in progress in which I am exploring meanings of community, tradition, and performance practice among contra dancers, callers, and musicians, and looking at this material from a local, regional, and national perspective (1). In this article I analyze the contra dance world as a community built around expressive culture and discuss some of the ways in which community is formed on the dance floor and maintained through the regular repetition of dancing and music making at specific dance events. I will look at context as well as at aesthetic, behavioral, and social factors, in order to see how the processes of performance create multiple dimensions of meaning for those involved—processes that lead to the formation of community. Because participants are engaged with actions associated with creativity, identity, and learning, each will have his/her own experience of what this “community” means. The continuous interplay between individual experience and group interaction during performance, seen as a subtext to a relationship between marginal group and dominant culture, represents a complex cultural microcosm empowered by many voices.

  • Arthur Schnitzler's The Bridal Veil at the American Laboratory Theatre

  • Lawrence Sullivan
  • Journal:
    Dance Research Journal / Volume 25 / Issue 1 / Spring 1993
    Published online by Cambridge University Press:
    22 July 2014, pp. 13-20
    Print publication:
    Spring 1993

  • Whatever the particular intentions of the playwright, Arthur Schnitzler's Der Schleier der Pierrette (The Veil of Pierrette), a ballet-pantomime first performed in Dresden, January 22, 1910, with music by Ernst von Dohnányi, became, in the first year of its composition, a vehicle of avant-garde experimentalists on the Russian theatrical scene. In October 1910, Vsevolod Meyerhold used Schnitzler's ballet-pantomime for his own avant-garde interests in commedia dell'arte motifs, producing Columbine's Scarf (a variant title) at the House of Interludes in St. Petersburg. Three years later, in 1913, Alexander Tairov, as anti-Meyerholdean as he was anti-Stanislavskian, also staged a version of Der Schleier under the title The Veil of Pierrette, at the Mardzhanov's Free Theatre in Moscow. Both directors, relying on different aesthetic principles, used the commedia dell'arte ballet-pantomime as a statement against Stanislavskian psychological realism (1).

  • DRJ volume 25 issue 1 Cover and Front matter

  • Journal:
    Dance Research Journal / Volume 25 / Issue 1 / Spring 1993
    Published online by Cambridge University Press:
    22 July 2014, pp. f1-f4
    Print publication:
    Spring 1993
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  • Letter to the Editor

  • Lynn Garafola
  • Journal:
    Dance Research Journal / Volume 25 / Issue 1 / Spring 1993
    Published online by Cambridge University Press:
    22 July 2014, p. 71
    Print publication:
    Spring 1993
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  • Rudolph Nureyev

  • Alaine Haubert
  • Journal:
    Dance Research Journal / Volume 25 / Issue 1 / Spring 1993
    Published online by Cambridge University Press:
    22 July 2014, p. 69
    Print publication:
    Spring 1993
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Page 111 of 154