000			05865cam a22003618a 4500
005			20211104000521.0
008			020626s2002 ctu 001 0 eng
010			_a 2002010172
011			_aBIB MATCHES WORLDCAT
020			_a0819565660 (pbk. : alk. paper)
020			_a0819565652 (cloth : alk. paper)
035			_a(ATU)b10584432
035			_a(DLC) 2002010172
035			_a(OCoLC)50090046
040			_aDLC
042			_apcc
050	0	0	_aGV1783. _bD35 2002
082	0		_a792.8
100	1		_aDaly, Ann, _d1959- _9406190
245	1	0	_aCritical gestures : _bwritings on dance and culture / _cAnn Daly.
263			_a0209.
264		1	_aMiddletown, Conn. : _bWesleyan University Press, _cc2002.
300			_axlii, 378 p.
500			_aIncludes index.
505	0	0	_tIntroduction -- _gI. _tWriting Dance -- _tPina Bausch -- _tTanztheater: The Thrill of the Lynch Mob or the Rage of a Woman? -- _tPina Bausch Goes West to Prospect for Imagery -- _tLove Mysterious and Familiar: Pina Bausch Brings Her Visceral Non Sequiturs to Austin -- _tRemembered Gesture -- _tMellower Now, A Resolute Romantic Keeps Trying -- _tDeborah Hay -- _tReview: The Man Who Grew Common in Wisdom -- _tThe Play of Dance: An Introduction to Lamb, Lamb, Lamb, Lamb, Lamb,. -- _tNo Exit: Deborah Hay's Latest Work a Meditation and Celebration in Space and Time -- _tAn Experimentalist in Soul and Body -- _tHorse Rider Woman Playing Dancing: Ann Daly Interviews Deborah Hay -- _tBill T. Jones and Arnie Zane -- _tDance at Prospect Park: High Art, Lowbrow Spectacle -- _tReview: Body against Body, edited by Elizabeth Zimmer and Susan Quasha -- _tDancing the Unsayable: Bill T. Jones's Still/Here Becomes a Meditation on the Possibilities of Postmodernist Art -- _tWhen Dancers Move On to Making Dances -- _tThe Long Day's Journey of Bill T. Jones -- _tBill T. Jones in Conversation with Ann Daly -- _tVoice Lessons -- _tRalph Lemon -- _tReview: Ralph Lemon Repertory Concert -- _tConversations about Race in the Language of Dance -- _tAfterword -- _tReview: Kei Takei's Light, Part 20 & 21 (Diary of the Dream) and Tetsu Maeda's Evocations -- _tReview: Fred Holland's Harbor/Cement -- _tReview: Jane Comfort's TV Love -- _tReview: Kazuo Ohno's Admiring La Argentina and Kuniko Kisanuki's Tefu Tefu -- _tReview: Molissa Fenley Repertory Concert -- _tReview: Gwall's Exit -- _tReview: Lucinda Childs Repertory Concert -- _tReview: Merce Cunningham's Roaratorio: An Irish Circus on Finnegans Wake -- _tNew York (USA): Experimental Dance -- _tReview: John Kelly's Ode to a Cube -- _tReview: Ralf Ralf's The Summit -- _tMolissa Fenley's State of Darkness -- _tReview: Susan Marshall's Interior with Seven Figures -- _tReview: Dana Reitz's Suspect Terrain -- _tReview: Nina Martin's Changing Face and Date with Fate -- _tSusan Marshall Choreography Explores Traged, Joy -- _tReview: Merce Cunningham Repertory Concert and Robert Wilson's Four Saints in Three Acts -- _tThe Choreography of Crisis: Women, Machines and Utopia Lost -- _tBallet with Attitude (or The Ballet of the Sexes) -- _tMargery Segal's Primal Emotions -- _tNo Gravity No Boundary -- _tThe Freedom of Tradition -- _tA Chronicle Faces Death and Celebrates Life -- _tA Dancer Discovers a World of Profit and Daredevil Feats -- _tNew York (USA): Dance and Fashion -- _tJohn Singer Sargent and the Dance -- _tLois Greenfield, the Frames That Bind, and the Metaphysics of Dance -- _tBecoming Artaud: Solo Performances at Drawing Center Expand MOMA Exhibit -- _tBody of Evidence: Schneemann Retrospective Exposes Subversive Gestures -- _tAn Inspiration Compounded of Hands and Feet -- _tTurning a Photographer's Vision into Choreography -- _tWhat Dance Has to Say about Beauty -- _tReview: Sondra Horton Fraleigh's Dance and the Lived Body -- _t"What Revolution?": The New Dance Scholarship in America -- _tReview: Martha Graham's Blood Memory and Agnes de Mille's Martha -- _tReview: A Cultural History of Gesture, edited by Jan Bremmer and Herman Roodenburg -- _tAlvin Ailey Revealed -- _tPostmodernism and American New Dance -- _tBAM and Beyond: The Postmoderns Get Balleticized -- _tThe Closet Classicist -- _tDarkness into Light: A Decade in the West Transforms a Butoh Troupe -- _tFinding the Logic of Difference -- _tDancing: A Letter from New York City -- _tSome Sentences by and about Merce Cunningham -- _tNew World A-Comin': A Century of Jazz and Modern Dance -- _tIn Dance, Preserving a Precarious Legacy Begins Onstage -- _gII. _tMaking History -- _tReview: From the Repertory of Isadora Duncan's "Soviet Workers' Songs" -- _tThe Continuing Beauty of the Curve: Isadora Duncan and Her Last Compositions -- _tReview: Millicent Dillon's After Egypt -- _tIsadora Duncan in 1920s America: "A Bolshevik Shade of Red" -- _tReview: Lillian Loewenthal's The Search for Isadora -- _tIsadora Duncan and the Distinction of Dance -- _tIsdora Duncan's Dance Theory -- _tA Fearless Confession Heard Round the World -- _gIII. _tTheorizing Gender -- _tThe Balanchine Woman: Of Hummingbirds and Channel Swimmers -- _tClassical Ballet: A Discourse of Difference -- _tTo Dance Is "Female" -- _tUnlimited Partnership: Dance and Feminist Analysis -- _tDance History and Feminist Theory: Reconsidering Isadora Duncan and the Male Gaze -- _tAbout Interpretation: Joann McNamara Interviews Ann Daly -- _tGender Issues in Dance History Pedagogy -- _t"Woman," Women, and Subversion: Some Nagging Questions from a Dance Historian -- _tTrends in Dance Scholarship: Feminist Theory across the Millennial Divide -- _tNotes -- _tAcknowledgments -- _tIndex.
650		0	_aModern dance _xSocial aspects _9632415
650		0	_aFeminism and dance _9328849
650		0	_aDance criticism _9316444
907			_a.b10584432 _b11-07-17 _c27-10-15
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