Pina Bausch's Dance Theatre
Edinburgh University Press (Verlag)
978-1-4744-3683-0 (ISBN)
This book presents a new reading of Pina Bausch’s dance theatre, orienting it within an international legacy of performance practice. The discussion considers not only the influence of German and American modern dance on Bausch’s work but, crucially, interrogates parallels with modernist and postdramatic theatre (including Antonin Artaud, Samuel Beckett, Jerzy Grotowski, and Robert Wilson), the influence of which has been largely neglected in existing studies of her oeuvre.
Pina Bausch’s Dance Theatre provides a wide-ranging study of Bausch’s aesthetic and methods of practice, with case studies ranging from the beginning of her career to her final choreographies.
Key Features
The first full-scale study interrogating the relationship between Bausch’s Tanztheater and modernist theatre practice, structured around a chronological framework of case study choreographiesA new theorisation of the development of Bausch’s oeuvre, locating her approach in a broader context of intercultural artistic exchange in the post-WWII periodDraws on literary and theatre theory to form an interdisciplinary methodology for understanding and interrogating Bausch’s oeuvreBased on extensive archival research and a specialised knowledge of the evolution of modern dance
Lucy Weir is Chancellor's Fellow in History of Art at Edinburgh College of Art, the University of Edinburgh. She is a specialist in modern dance and performance. Her research interests span the fields of live art, theatre and dance, and queer culture and gender studies. She received her PhD from the University of Glasgow in 2013 and has held several teaching and research fellowships. She previously taught at the University of Glasgow, Glasgow School of Art and the Royal Conservatoire of Scotland.
List of illustrations
List of choreographies
Acknowledgements
Introduction
1 A Bilingual Dancer
Defining Dance Theatre
Learning a New Language: Bausch in the USA
Homecoming
Transnational Modernism: Orpheus und Eurydike
‘It’s not a metaphor. It is what it is’: Le Sacre du printemps
2 New Beginnings: The Origins of Bausch’s Tanztheater
Early Controversies: The Brecht/Weill Evening
Working from the Inside Out
The Haunted Self: Blaubart
A Theatre of Fragments: The Macbeth Project
3 Unmasked, Unfinished, Unresolved: A Dance Theatre of the Absurd
‘An Archaeology of the Everyday’
Returning the Gaze: Kontakthof
‘And then, Pina said…’: Walzer
4 Violent Acts: Traversing the Postwar Landscape
Performing Authoritarianism: Nelken
Addressing the Past: Auf dem Gebirge hat man ein Geschrei gehört
Engendering Trouble: Two Cigarettes in the Dark
5 Transient Tanztheater: The Co-Production Model
Excavating the Eternal City: Viktor
Circumventing Orientalism? The Co-Production Model
Finding a Universal Language: Masurca Fogo
‘Dance is the only true language’: Água
6 ‘I only tried to speak about us’
Ein Stück von Pina Bausch? Passing on the Work
Ageing Gracefully
Turning Back to Dance: Vollmond
On Not Forgetting: ‘Sweet Mambo’
Bibliography
Index
| Erscheinungsdatum | 29.07.2018 |
|---|---|
| Reihe/Serie | Edinburgh Critical Studies in Modernism, Drama and Performance |
| Zusatzinfo | 17 black and white illustrations |
| Verlagsort | Edinburgh |
| Sprache | englisch |
| Maße | 156 x 234 mm |
| Gewicht | 479 g |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Kunst / Musik / Theater ► Theater / Ballett | |
| Sachbuch/Ratgeber ► Sport ► Tanzen / Tanzsport | |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Anglistik / Amerikanistik | |
| ISBN-10 | 1-4744-3683-8 / 1474436838 |
| ISBN-13 | 978-1-4744-3683-0 / 9781474436830 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
| Haben Sie eine Frage zum Produkt? |
aus dem Bereich
