Dance theater of cruelty

2019 ◽  
pp. 58-68
Keyword(s):  
Dance Theater ◽  
Theater Of Cruelty

Democracy's Body: Judson Dance Theater 1962-1964

1986 ◽  
Vol 18 (2) ◽  
pp. 73
Author(s):  
Sally Sommer ◽  
Sally Banes
Keyword(s):  
Dance Theater ◽  
Judson Dance Theater

Breaking at the Edges: Carolee Schneemann's Desires for Dance

2021 ◽  
Vol 36 (2) ◽  
pp. 165-173
Author(s):  
Danielle Goldman
Keyword(s):  
The Novel ◽  
Dance Theater ◽  
Novel Coronavirus ◽  
Judson Dance Theater

Abstract During the late 1950s and early 1960s, Carolee Schneemann primarily identified as a painter. But she was a keen and cutting observer of dance. This article considers Schneemann's audacious performance work for the Judson Dance Theater and reflects on its ongoing importance both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19).

scholarly journals MAKYUNG AS AN OLDEST FORM OF MALAY TRADITIONAL DANCE THEATRE IN SOUTHEAST ASIA

2019 ◽  
Vol 2 (1) ◽  
pp. 27-35
Author(s):  
Rosdeen Suboh
Keyword(s):  
Southeast Asia ◽  
18Th Century ◽  
The Self ◽  
Oral Traditions ◽  
Historical Records ◽  
Dance Theater ◽  
Exact Date ◽  
Archaeological Materials ◽  
Almost All ◽  
Performance Structure

Almost all previous studies on the Makyung dance theater concurred that the aforementioned performance was the oldest form of traditional theater amongst the Malays in Southeast Asia. It arrived or started before the arrival of Islam to the Malay Peninsula. Unfortunately, the written record on Makyung only existed at the end of the 18th century. Hence, the exact date on the origin of Makyung is difficult to determine. This means that the main sources of research on Makyung are from oral traditions, including myths, as well as the evidence contained in the self-titled performances, and not only depending the sources of writing, material evident or archaeological materials. Consequently, this article offers that Makyung is the oldest dance theatre in Southeast Asia through the analysis of previous historical records, studies and opinions about stories and elements in the performance structure.

Hans Van Manen

2021 ◽  
pp. 28-44
Author(s):  
Anna Seidl
Keyword(s):  
Avant Garde ◽  
Less Is More ◽  
Dance Theater ◽  
Van Manen ◽  
Existential Dimension ◽  
Game Changer

The Dutch avant-garde choreographer Hans van Manen (b. 1932) is frequently recognized as a game changer and pioneer for his fusion of ballet techniques with elements from dance theater, and for his scrutiny of ballet’s conventional use of authority, power, and patriarchy. Yet it still remains difficult to describe the “mysterious experience” one gains while watching his ballets, an experience characterized by an intriguing tension between formal austerity and dramatic expression—a type of “less is more.” In this chapter, Van Manen’s ballets are at once abstract and emotive; they are uncomplicated, tightly composed works of pure dance, and yet they are deeply social and political, with a clear emancipatory agenda. In short: Hans van Manen’s choreographies have an existential dimension, and can be described as abstract miniature dramas.

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