Critical gestures : writings on dance and culture /
Daly, Ann, 1959-
Critical gestures : writings on dance and culture / Ann Daly. - xlii, 378 p.
Includes index.
Introduction -- Writing Dance -- Pina Bausch -- Tanztheater: The Thrill of the Lynch Mob or the Rage of a Woman? -- Pina Bausch Goes West to Prospect for Imagery -- Love Mysterious and Familiar: Pina Bausch Brings Her Visceral Non Sequiturs to Austin -- Remembered Gesture -- Mellower Now, A Resolute Romantic Keeps Trying -- Deborah Hay -- Review: The Man Who Grew Common in Wisdom -- The Play of Dance: An Introduction to Lamb, Lamb, Lamb, Lamb, Lamb,. -- No Exit: Deborah Hay's Latest Work a Meditation and Celebration in Space and Time -- An Experimentalist in Soul and Body -- Horse Rider Woman Playing Dancing: Ann Daly Interviews Deborah Hay -- Bill T. Jones and Arnie Zane -- Dance at Prospect Park: High Art, Lowbrow Spectacle -- Review: Body against Body, edited by Elizabeth Zimmer and Susan Quasha -- Dancing the Unsayable: Bill T. Jones's Still/Here Becomes a Meditation on the Possibilities of Postmodernist Art -- When Dancers Move On to Making Dances -- The Long Day's Journey of Bill T. Jones -- Bill T. Jones in Conversation with Ann Daly -- Voice Lessons -- Ralph Lemon -- Review: Ralph Lemon Repertory Concert -- Conversations about Race in the Language of Dance -- Afterword -- Review: Kei Takei's Light, Part 20 & 21 (Diary of the Dream) and Tetsu Maeda's Evocations -- Review: Fred Holland's Harbor/Cement -- Review: Jane Comfort's TV Love -- Review: Kazuo Ohno's Admiring La Argentina and Kuniko Kisanuki's Tefu Tefu -- Review: Molissa Fenley Repertory Concert -- Review: Gwall's Exit -- Review: Lucinda Childs Repertory Concert -- Review: Merce Cunningham's Roaratorio: An Irish Circus on Finnegans Wake -- New York (USA): Experimental Dance -- Review: John Kelly's Ode to a Cube -- Review: Ralf Ralf's The Summit -- Molissa Fenley's State of Darkness -- Review: Susan Marshall's Interior with Seven Figures -- Review: Dana Reitz's Suspect Terrain -- Review: Nina Martin's Changing Face and Date with Fate -- Susan Marshall Choreography Explores Traged, Joy -- Review: Merce Cunningham Repertory Concert and Robert Wilson's Four Saints in Three Acts -- The Choreography of Crisis: Women, Machines and Utopia Lost -- Ballet with Attitude (or The Ballet of the Sexes) -- Margery Segal's Primal Emotions -- No Gravity No Boundary -- The Freedom of Tradition -- A Chronicle Faces Death and Celebrates Life -- A Dancer Discovers a World of Profit and Daredevil Feats -- New York (USA): Dance and Fashion -- John Singer Sargent and the Dance -- Lois Greenfield, the Frames That Bind, and the Metaphysics of Dance -- Becoming Artaud: Solo Performances at Drawing Center Expand MOMA Exhibit -- Body of Evidence: Schneemann Retrospective Exposes Subversive Gestures -- An Inspiration Compounded of Hands and Feet -- Turning a Photographer's Vision into Choreography -- What Dance Has to Say about Beauty -- Review: Sondra Horton Fraleigh's Dance and the Lived Body -- "What Revolution?": The New Dance Scholarship in America -- Review: Martha Graham's Blood Memory and Agnes de Mille's Martha -- Review: A Cultural History of Gesture, edited by Jan Bremmer and Herman Roodenburg -- Alvin Ailey Revealed -- Postmodernism and American New Dance -- BAM and Beyond: The Postmoderns Get Balleticized -- The Closet Classicist -- Darkness into Light: A Decade in the West Transforms a Butoh Troupe -- Finding the Logic of Difference -- Dancing: A Letter from New York City -- Some Sentences by and about Merce Cunningham -- New World A-Comin': A Century of Jazz and Modern Dance -- In Dance, Preserving a Precarious Legacy Begins Onstage -- Making History -- Review: From the Repertory of Isadora Duncan's "Soviet Workers' Songs" -- The Continuing Beauty of the Curve: Isadora Duncan and Her Last Compositions -- Review: Millicent Dillon's After Egypt -- Isadora Duncan in 1920s America: "A Bolshevik Shade of Red" -- Review: Lillian Loewenthal's The Search for Isadora -- Isadora Duncan and the Distinction of Dance -- Isdora Duncan's Dance Theory -- A Fearless Confession Heard Round the World -- Theorizing Gender -- The Balanchine Woman: Of Hummingbirds and Channel Swimmers -- Classical Ballet: A Discourse of Difference -- To Dance Is "Female" -- Unlimited Partnership: Dance and Feminist Analysis -- Dance History and Feminist Theory: Reconsidering Isadora Duncan and the Male Gaze -- About Interpretation: Joann McNamara Interviews Ann Daly -- Gender Issues in Dance History Pedagogy -- "Woman," Women, and Subversion: Some Nagging Questions from a Dance Historian -- Trends in Dance Scholarship: Feminist Theory across the Millennial Divide -- Notes -- Acknowledgments -- Index. I. II. III.
0819565660 (pbk. : alk. paper) 0819565652 (cloth : alk. paper)
2002010172
Modern dance--Social aspects
Feminism and dance
Dance criticism
GV1783. / D35 2002
792.8
Critical gestures : writings on dance and culture / Ann Daly. - xlii, 378 p.
Includes index.
Introduction -- Writing Dance -- Pina Bausch -- Tanztheater: The Thrill of the Lynch Mob or the Rage of a Woman? -- Pina Bausch Goes West to Prospect for Imagery -- Love Mysterious and Familiar: Pina Bausch Brings Her Visceral Non Sequiturs to Austin -- Remembered Gesture -- Mellower Now, A Resolute Romantic Keeps Trying -- Deborah Hay -- Review: The Man Who Grew Common in Wisdom -- The Play of Dance: An Introduction to Lamb, Lamb, Lamb, Lamb, Lamb,. -- No Exit: Deborah Hay's Latest Work a Meditation and Celebration in Space and Time -- An Experimentalist in Soul and Body -- Horse Rider Woman Playing Dancing: Ann Daly Interviews Deborah Hay -- Bill T. Jones and Arnie Zane -- Dance at Prospect Park: High Art, Lowbrow Spectacle -- Review: Body against Body, edited by Elizabeth Zimmer and Susan Quasha -- Dancing the Unsayable: Bill T. Jones's Still/Here Becomes a Meditation on the Possibilities of Postmodernist Art -- When Dancers Move On to Making Dances -- The Long Day's Journey of Bill T. Jones -- Bill T. Jones in Conversation with Ann Daly -- Voice Lessons -- Ralph Lemon -- Review: Ralph Lemon Repertory Concert -- Conversations about Race in the Language of Dance -- Afterword -- Review: Kei Takei's Light, Part 20 & 21 (Diary of the Dream) and Tetsu Maeda's Evocations -- Review: Fred Holland's Harbor/Cement -- Review: Jane Comfort's TV Love -- Review: Kazuo Ohno's Admiring La Argentina and Kuniko Kisanuki's Tefu Tefu -- Review: Molissa Fenley Repertory Concert -- Review: Gwall's Exit -- Review: Lucinda Childs Repertory Concert -- Review: Merce Cunningham's Roaratorio: An Irish Circus on Finnegans Wake -- New York (USA): Experimental Dance -- Review: John Kelly's Ode to a Cube -- Review: Ralf Ralf's The Summit -- Molissa Fenley's State of Darkness -- Review: Susan Marshall's Interior with Seven Figures -- Review: Dana Reitz's Suspect Terrain -- Review: Nina Martin's Changing Face and Date with Fate -- Susan Marshall Choreography Explores Traged, Joy -- Review: Merce Cunningham Repertory Concert and Robert Wilson's Four Saints in Three Acts -- The Choreography of Crisis: Women, Machines and Utopia Lost -- Ballet with Attitude (or The Ballet of the Sexes) -- Margery Segal's Primal Emotions -- No Gravity No Boundary -- The Freedom of Tradition -- A Chronicle Faces Death and Celebrates Life -- A Dancer Discovers a World of Profit and Daredevil Feats -- New York (USA): Dance and Fashion -- John Singer Sargent and the Dance -- Lois Greenfield, the Frames That Bind, and the Metaphysics of Dance -- Becoming Artaud: Solo Performances at Drawing Center Expand MOMA Exhibit -- Body of Evidence: Schneemann Retrospective Exposes Subversive Gestures -- An Inspiration Compounded of Hands and Feet -- Turning a Photographer's Vision into Choreography -- What Dance Has to Say about Beauty -- Review: Sondra Horton Fraleigh's Dance and the Lived Body -- "What Revolution?": The New Dance Scholarship in America -- Review: Martha Graham's Blood Memory and Agnes de Mille's Martha -- Review: A Cultural History of Gesture, edited by Jan Bremmer and Herman Roodenburg -- Alvin Ailey Revealed -- Postmodernism and American New Dance -- BAM and Beyond: The Postmoderns Get Balleticized -- The Closet Classicist -- Darkness into Light: A Decade in the West Transforms a Butoh Troupe -- Finding the Logic of Difference -- Dancing: A Letter from New York City -- Some Sentences by and about Merce Cunningham -- New World A-Comin': A Century of Jazz and Modern Dance -- In Dance, Preserving a Precarious Legacy Begins Onstage -- Making History -- Review: From the Repertory of Isadora Duncan's "Soviet Workers' Songs" -- The Continuing Beauty of the Curve: Isadora Duncan and Her Last Compositions -- Review: Millicent Dillon's After Egypt -- Isadora Duncan in 1920s America: "A Bolshevik Shade of Red" -- Review: Lillian Loewenthal's The Search for Isadora -- Isadora Duncan and the Distinction of Dance -- Isdora Duncan's Dance Theory -- A Fearless Confession Heard Round the World -- Theorizing Gender -- The Balanchine Woman: Of Hummingbirds and Channel Swimmers -- Classical Ballet: A Discourse of Difference -- To Dance Is "Female" -- Unlimited Partnership: Dance and Feminist Analysis -- Dance History and Feminist Theory: Reconsidering Isadora Duncan and the Male Gaze -- About Interpretation: Joann McNamara Interviews Ann Daly -- Gender Issues in Dance History Pedagogy -- "Woman," Women, and Subversion: Some Nagging Questions from a Dance Historian -- Trends in Dance Scholarship: Feminist Theory across the Millennial Divide -- Notes -- Acknowledgments -- Index. I. II. III.
0819565660 (pbk. : alk. paper) 0819565652 (cloth : alk. paper)
2002010172
Modern dance--Social aspects
Feminism and dance
Dance criticism
GV1783. / D35 2002
792.8