Musical Theater Dance Training and Choreography in the 1920–1930s

2021 ◽  
pp. 9-29
Author(s):  
Liza Gennaro
Keyword(s):  
Essential Role ◽  
Musical Theater ◽  
Black Dance ◽  
George Balanchine ◽  
Musical Play ◽  
Radical Innovations ◽  
Dance Teachers ◽  
Dance Training ◽  
The Common ◽  
Historical Basis

This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the individuated chorus, and how a few dance directors began to consider dance in musicals in relation to the libretto as an integrated and meaningful addition to the musical play. The common practice of Black choreographers being pushed aside while white choreographers claimed credit for their work and the essential role Black dance teachers and coaches played in training white dancers for Broadway is discussed here. Examinations of choreographic works by dance directors Buddy Bradley, Charlie Davis, Seymour Felix, Sammy Lee, Albertina Rasch, and George Balanchine establish a historical basis in preparation for the radical innovations to be discussed in subsequent chapters.

Surface oxygen vacancies on Co3O4 mediated catalytic formaldehyde oxidation at room temperature

2016 ◽  
Vol 6 (11) ◽  
pp. 3845-3853 ◽  
Author(s):  
Zhong Wang ◽  
Wenzhong Wang ◽  
Ling Zhang ◽  
Dong Jiang
Keyword(s):  
Catalytic Oxidation ◽  
Room Temperature ◽  
Oxygen Vacancies ◽  
Essential Role ◽  
Surface Oxygen ◽  
Oxidation Reactions ◽  
Major Activity ◽  
Formaldehyde Oxidation ◽  
The Common

This study reveals the essential role played by surface oxygen vacancies in catalytic oxidation reactions, and complements the common viewpoint that Co3+ is the major activity species in Co3O4-based systems.

scholarly journals USP7 Cooperates with SCML2 To Regulate the Activity of PRC1

2015 ◽  
Vol 35 (7) ◽  
pp. 1157-1168 ◽  
Author(s):  
Emilio Lecona ◽  
Varun Narendra ◽  
Danny Reinberg
Keyword(s):  
Chromatin Immunoprecipitation ◽  
Essential Role ◽  
Target Genes ◽  
Polycomb Group ◽  
Histone H2a ◽  
Polycomb Group Protein ◽  
Specific Component ◽  
Group Protein ◽  
The Common ◽  
Polycomb Repressive Complex 1

USP7 is a protein deubiquitinase with an essential role in development. Here, we provide evidence that USP7 regulates the activity of Polycomb repressive complex 1 (PRC1) in coordination with SCML2. There are six versions of PRC1 defined by the association of one of the PCGF homologues (PCGF1 to PCGF6) with the common catalytic subunit RING1B. First, we show that SCML2, a Polycomb group protein that associates with PRC1.2 (containing PCGF2/MEL18) and PRC1.4 (containing PCGF4/BMI1), modulates the localization of USP7 and bridges USP7 with PRC1.4, allowing for the stabilization of BMI1. Chromatin immunoprecipitation (ChIP) experiments demonstrate that USP7 is found at SCML2 and BMI1 target genes. Second, inhibition of USP7 leads to a reduction in the level of ubiquitinated histone H2A (H2Aub), the catalytic product of PRC1 and key for its repressive activity. USP7 regulates the posttranslational status of RING1B and BMI1, a specific component of PRC1.4. Thus, not only does USP7 stabilize PRC1 components, its catalytic activity is also necessary to maintain a functional PRC1, thereby ensuring appropriate levels of repressive H2Aub.

scholarly journals FACETS OF INTENSIONALITY

ARHE ◽  
2021 ◽  
Vol 27 (34) ◽  
pp. 61-83
Author(s):  
KATARINA MAKSIMOVIĆ
Keyword(s):  
Proof Theory ◽  
Essential Role ◽  
Common Belief ◽  
Rule Based ◽  
General Proof ◽  
The Common

The goal of this paper is to introduce the reader to the distinction between intensional and extensional as a distinction between different approaches to meaning. We will argue that despite the common belief, intensional aspects of mathematical notions can be, and in fact have been successfully described in mathematics. One that is for us particularly interesting is the notion of deduction as depicted in general proof theory. Our considerations result in defending a) the importance of a rule-based semantical approach and b) the position according to which non-reductive and somewhat circular explanations play an essential role in describing intensionality in mathematics.

scholarly journals Transylvanian Folk Music in Zoltán Kodály's Compositions

2018 ◽  
Vol 59 (1-2) ◽  
pp. 55-60
Author(s):  
István Almási
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Essential Role ◽  
Folk Songs ◽  
Zoltan Kodaly ◽  
Musical Play ◽  
Mixed Voices ◽  
Voice And Piano ◽  
Hungarian Folk Music

Zoltán Kodály became seriously interested in Transylvanian folk music when he had learnt about the results of Béla Bartók's collecting fieldworks in Székelyföld. The wealth of old-style tunes and classical ballads, and – above all – the recognition of the importance of pentatony inspired Kodály to take part personally in the exploration of Székely folk music. Székely musical folklore obviously intrigued him both as an ethnographer and as a composer. He collected nearly 600 tunes in 15 Székely localities in the Gyergyó Basin, the valley of the Kászon stream, and Bukovina. He arranged 66 of these melodies within such compositions as e.g. the Dances of Marosszék, the musical play The Spinning Room, Hungarian Folk Music (57 ballads and folk songs for voice and piano), Székely Lament for mixed voices, Bicinia Hungarica, Kádár Kata and Molnár Anna (both with chamber orchestra accompaniment), and Pentatonic Music. Apart from his own collection, he also used those of some of his contemporaries. The paper discusses the specificities of Kodály's techniques of arrangement. His inspiring advice for younger folklorists had an essential role in triggering the in-depth investigation of Central Transylvanian folk music.

scholarly journals Special Features of the Spiritual Leadership of St. Theofan the Recluse

2021 ◽  
pp. 61-76
Author(s):  
Михаил Степанович Иванов
Keyword(s):  
Spiritual Leadership ◽  
Fundamental Principle ◽  
Common Misconception ◽  
The World ◽  
Spiritual Tradition ◽  
The Common ◽  
Historical Basis ◽  
The Universe ◽  
The Church ◽  
True Relationship

Статья посвящена специфике аскетической практики известного русского подвижника благочестия епископа Феофана (Говорова). В начале статьи даётся историческое обоснование диалектическому противостоянию между миром и монастырём, которое разрешается в одну из благодатных форм христианской жизни. Далее проводится различение между понятиями «мир Божий», как сотворённая Богом Вселенная, и «мир греха», как господство зла, вторгшегося в окружающий мир по вине человека. Это различение помогает снять распространённое заблуждение относительно монашеского отречения от мира и выявить подлинные отношения, которые рождает человек, ставший на монашеский путь духовного возрождения. Развивая эти отношения, монах входит в целостное, органическое, духовное и благодатное единство с миром Божиим, что позволяет ему установить основанное на любви ко всему божественному творению подлинное отношение ко всем обитателям тварного мира. На этом основополагающем принципе монашеской жизни, как пишет епископ Феофан, Затворник Вышенский, как раз и нужно строить архипастырское руководство всеми членами Церкви - не только монашеским братством, но и мирскими людьми, тем самым продолжая духовную традицию русского старчества. The article is devoted to the specifics of the ascetic practice of the famous Russian devotee of piety, Bishop Theofan (Govorov). At the beginning of the article, a historical basis is given for the dialectical confrontation between the world and the monastery, which is resolved into one of the blessed forms of Christian life. Further, a distinction is made between the concepts of «the world of God», as the universe created by God, and the «world of sin», as the rule of evil that invaded the surrounding world through the fault of man. This distinction helps to remove the common misconception about monastic renunciation of the world and to reveal the true relationship that a person gives birth to when he embarks on the monastic path of spiritual rebirth. Developing these relationships, the monk enters into an integral, organic, spiritual and grace-filled unity with the world of God, which allows him to establish a genuine relationship based on love for the entire divine creation with all the inhabitants of the created world. On this fundamental principle of monastic life, as Bishop Theofan, the Recluse of Vyshensky writes, it is precisely necessary to build the archpastoral leadership of all members of the Church - not only the monastic brotherhood, but also the secular people, thereby continuing the spiritual tradition of the Russian eldership.

Sondheim and Postmodernism

2014 ◽  
Author(s):  
Robert L. McLaughlin
Keyword(s):  
Musical Theater ◽  
American Dream ◽  
Life Story ◽  
Master Narrative ◽  
Stephen Sondheim ◽  
Musical Play

This chapter places the musical theater of Stephen Sondheim and his collaborators in two contexts: the late-1960s aesthetic exhaustion of the integrated musical play and the rise of postmodernism as a cultural dominant. Self-referentially unintegrated and self-consciously performative, Sondheim’s musicals move beyond the constraints of the musical play and participate in the postmodern critique of narrative as an aesthetic, epistemological, and ontological structure.Company(1970) andFollies(1971) use a formal critique of narrative to disconnect identity from the structure of the life story.Merrily We Roll Along(1981) employs a backward-moving narrative to problematize a structure-completing, progressive conception of time.Road Show(2008) replaces the exhausted master narrative of the American Dream with multiple temporary and contingent narratives.

Making Broadway Dance

2021 ◽  
Author(s):  
Liza Gennaro
Keyword(s):  
Musical Theater ◽  
Character Analysis ◽  
Dance Studies ◽  
George Balanchine ◽  
Script Analysis ◽  
Depth Analysis ◽  
Art Design ◽  
Bob Fosse ◽  
Katherine Dunham

Musical theater dance is an ever-changing and evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists requiring dramaturgical understanding; character analysis; knowledge of history, art, design; and, most importantly, an extensive knowledge of dance, both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis—derivative, cliché ridden, titillating and predictable, the ugly stepsister of both theater and dance—belies and ignores the historic role it has had in musicals as an expressive form equal to book, music, and lyric. The standard adage, “when you can’t speak anymore sing, when you can’t sing anymore dance,” expresses its importance in musical theater as the ultimate form of heightened emotional, visceral, and intellectual expression. Through in-depth analysis author Liza Gennaro examines Broadway choreography through the lens of dance studies, script analysis, movement research, and dramaturgical inquiry offering a close examination of a dance form that has heretofore received only the most superficial interrogation. This book reveals the choreographic systems of some of Broadway’s most influential dance-makers, including George Balanchine, Agnes de Mille, Jerome Robbins, Katherine Dunham, Bob Fosse, Donald McKayle, Savion Glover, Sergio Trujillo, Steven Hoggett, and Camille Brown. Making Broadway Dance is essential reading for theater and dance scholars, students, practitioners, and Broadway fans.

THE COMMON CHARACTER OF THE POETICS IN THE WEDDING CEREMONIAL POETRY OF RUTULS, AGULS, TSAKHURS

2020 ◽  
pp. 79-84
Author(s):  
Fatima Magomedovna Ibragimova
Keyword(s):  
Indigenous Peoples ◽  
Essential Role ◽  
Common Features ◽  
The Common ◽  
Relationship Of ◽  
The Relationship ◽  
Common Character

The article considers the artistic originality of wedding-ritual poetry of three indigenous peoples of Southern Dagestan. The essential role played by the relationship of the text with melody, common features of music of all the peoples of Southern Dagestan are accentuated, specifics is shown.

Loukkaantuminen muutoksen mahdollisuutena: holistinen näkökulma tanssin ammattilaisen loukkaantumiskokemukseen

2016 ◽  
Vol 7 (1) ◽  
pp. 4-17
Author(s):  
Hanna Pohjola ◽  
Hanna-Kaisa Rajal
Keyword(s):  
Recovery Process ◽  
The Body ◽  
Critical Examination ◽  
Dance Teachers ◽  
Dance Training ◽  
Self Development ◽  
Injury Event ◽  
Holistic Concept ◽  
Change Of Perspective ◽  
The Individual

Abstract This article focuses on describing the experience of a physical injury from a holistic concept. Based on the theme interviews of the three dancer-dance teachers, the data suggests that an injury experience and the related recovery process change the individual meaning-relationships profoundly. For example, an injured dance professional is able to question the body ideals and the methods of dance training that focus merely on the object body. In addition, dance training that endangers health, as well as model-based teaching are perceived critically. Dance professional who has overcome injury heightens not only the awareness of one’s body, but also outlines respect and responsibility towards one’s self. The injury also invokes critical examination of the underlying circumstances behind the injury event to enable self-development and change of perspective in relation to working in the field of dance. Acceptance of the injury enables to perceive the future; it clarifies social responsibility and values, and facilitates pedagogical perspectives that are based on perceiving one’s body as a subject, as well as respecting the body of others.

Limitations, Defences, and Genuine Use

2017 ◽  
Author(s):  
Annette Kur ◽  
Martin Senftleben
Keyword(s):  
Intellectual Property Rights ◽  
Essential Role ◽  
Trade Mark ◽  
The European Union ◽  
The Public ◽  
Competing Interests ◽  
Domestic Legislation ◽  
Genuine Use ◽  
European Trade ◽  
The Common

As with other intellectual property rights, the exclusive rights of the trade mark proprietor are limited in several respects. At the international level, Article 17 TRIPS offers room for the adoption of ‘limited exceptions’ in domestic legislation (see paragraphs 2.68–2.72). On this basis, Article 14 of the Trade Mark Directive (TMD) and Article 12 of the European Trade Mark Regulation (EUTMR) provide a tool for reconciling the interests of the trade mark owner with competing interests of other traders and the public at large. As explained by the Court of Justice of the European Union (CJEU), these provisions, by limiting the effects of the exclusive rights of the trade mark owner, seek ‘to reconcile the fundamental interests of trade mark protection with those of free movement of goods and freedom to provide services in the common market in such a way that trade mark rights are able to fulfil their essential role in the system of undistorted competition which the Treaty seeks to establish and maintain’.

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