By Margery J. Turner
Dealing completely with advancements in sleek dance considering that 1951, this publication is for somebody who needs to appreciate and adventure nonliteral dance: scholars and academics, dancers and critics.
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Extra info for New Dance: Approaches to Nonliteral Choreography
It offers extensive practice in creating 33 and discarding dance phrases, in conceiving dance phrases neuromuscularly, and in responding to the movement of other dancers. As a means of creative exploration-a road to movement discovery and variation-improvisation can often be as valuable when it is observed as when it is experienced firsthand. Dance improvisation is a complex process of responding to a specific stimulus. Since the stimulus cannot remain pure (it is almost immediately transformed by past knowledge and experiences and feelings), the individual's response to it is necessarily complex-charged with feelings and associations that are largely subconscious.
Among these outstanding young dance artists who have reached prominence today are: Gladys Bailin and Phyllis Lamhut of the Nikolais and Louis companies; Carolyn Carlson of the Nikolais company; Carolyn Brown and 21 Viola Farber of the Cunningham company; Nancy Meehan, Kelly Holt, and James Tyler of the Hawkins company; Betty De Jong and Dan Waggoner of the Taylor company; Toby Nicholson and Masao of the Shearer company; Don Redlich, from the Hanya Holm school of dance, an independent dancer who has started a new company with Gladys Bailin; and Joy Boutilier and Mimi Garrard, both with their own companies and both deriving from the Henry Street Playhouse School of Dance.
The dance form that results from this intuitive process most often evolves and develops rather than follows a preconceived pattern or plan. Although there are no prescribed restrictions or requirements placed on form, musical or prescribed forms can be used if the choreographer prefers or needs to use them. What about the use of titles in nonliteral dance? Dances are untitled so that the spectator can view the dance without bias or preconceptions. Actually, this form of dance does not need titles any more than a concerto or symphony needs them.
New Dance: Approaches to Nonliteral Choreography by Margery J. Turner