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Author: Isadora Duncan
Publisher: Ediciones AKAL
ISBN: 8446049643
Category : Performing Arts
Languages : es
Pages : 236
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Book Description
Los escritos sobre danza de Isadora Duncan constituyen una de las más brillantes reflexiones de una coreógrafa sobre su trabajo. Su valor se acrecienta si tenemos en cuenta que fue precisamente Duncan quien, con mayor consciencia y decisión que Loie Fuller o Ruth St. Denis, convirtió la danza libre, no basada en los códigos de ballet, en un arte. El arte de la danza, tal como fue definido y defendido por Duncan, nació al mismo tiempo que el teatro alcanzaba su autonomía respecto al drama y se convertía, en términos de Gorden Craign, en arte del teatro. Duncan desempeñó en la historia de las artes escénicas del siglo xx una misión fudnadora, similara a la de Craig. De sus escritos sobre danza no nos han quedado ejemplos vivos, tal como a ella le habría gustado; tampoco fórmulas creativas, ni indicaciones técnicas, ni propuestas metodológicas. Su legado hay que buscarlo más bien en la vitalidad de las ideas que estos textos nos transmiten: la reivindicación de la danza como arte; el descubrimiento del cuerpo libre en conexión con el ritmo de la naturaleza; la vinculación entre la liberación corporal, la personal y la social (de la mujer / del oprimido); la interpenetración de amor y creación, y la búsqueda en la literatura, la filosofía y la ciencia de un pensamiento que sirva de base para la formulación de una nueva reflexión sobre el arte, la mujer y la sociedad directamente emanada de la experiencia del cuerpo.
Author: Isadora Duncan
Publisher: Ediciones AKAL
ISBN: 8446049643
Category : Performing Arts
Languages : es
Pages : 236
Get Book Here
Book Description
Los escritos sobre danza de Isadora Duncan constituyen una de las más brillantes reflexiones de una coreógrafa sobre su trabajo. Su valor se acrecienta si tenemos en cuenta que fue precisamente Duncan quien, con mayor consciencia y decisión que Loie Fuller o Ruth St. Denis, convirtió la danza libre, no basada en los códigos de ballet, en un arte. El arte de la danza, tal como fue definido y defendido por Duncan, nació al mismo tiempo que el teatro alcanzaba su autonomía respecto al drama y se convertía, en términos de Gorden Craign, en arte del teatro. Duncan desempeñó en la historia de las artes escénicas del siglo xx una misión fudnadora, similara a la de Craig. De sus escritos sobre danza no nos han quedado ejemplos vivos, tal como a ella le habría gustado; tampoco fórmulas creativas, ni indicaciones técnicas, ni propuestas metodológicas. Su legado hay que buscarlo más bien en la vitalidad de las ideas que estos textos nos transmiten: la reivindicación de la danza como arte; el descubrimiento del cuerpo libre en conexión con el ritmo de la naturaleza; la vinculación entre la liberación corporal, la personal y la social (de la mujer / del oprimido); la interpenetración de amor y creación, y la búsqueda en la literatura, la filosofía y la ciencia de un pensamiento que sirva de base para la formulación de una nueva reflexión sobre el arte, la mujer y la sociedad directamente emanada de la experiencia del cuerpo.
Author: Norma E. Cantú
Publisher: University of Illinois Press
ISBN: 0252076095
Category : Dance
Languages : en
Pages : 474
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Book Description
One of the first anthologies to focus on Mexican dance practices on both sides of the border
Author: K. Mitchell Snow
Publisher: University Press of Florida
ISBN: 0813072735
Category : Art
Languages : en
Pages : 284
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Book Description
Honorable Mention, Latin American Studies Association Mexico Section Best Book in the Humanities A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance—the emulation of Diaghilev’s Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico’s theatrical dance world, including Diego Rivera’s collaborations with ballet composer Carlos Chávez; Carlos Mérida’s leadership of the National School of Dance; José Clemente Orozco’s involvement in the creation of the Ballet de la Ciudad de México; and Miguel Covarrubias, who led the “golden age” of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.
Author: Roberto Kolb-Neuhaus
Publisher: Oxford University Press
ISBN: 019975148X
Category : Biography & Autobiography
Languages : en
Pages : 737
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Book Description
"To this day, both at home and beyond Mexico's borders, Silvestre Revueltas (1899-1940) has been systematically portrayed as a nationalist composer. Unknown or ignored, his private and public writings destroy this myth straight out. The then-fashionable musicking of a presumed Mexicanness was far from Revueltas' mind. Strongly inspired by the Soviet Revolution, his dream was to find ways to sound the voice of the social people, not only those wandering the Mexican streets but also the gypsy miners in Spain, the black slaves in the U.S. South, and those in Cuba in colonial times. The various soundings of such social actors account for the diversity of aesthetics in his works, explored in this book through a correlation of the musical texts with the composer's writings as well as his political activism: he was not only active at home as a leading member of the League of Revolutionary Writers and Artists, but also significantly as a member of the Mexican delegation visiting Republican Spain in the midst of the war against Franco's fascist troupes. With few exceptions, though, most of his works seek to transcend standards of political art expression, such as program music or scores variously linked to word or image. Significantly, Revueltas' early instrumental works appear to abstract a musical ontology from the time and space of his diverse and multiple social actors through a daringly free use of montage and collage. Avant-garde rebellion and satire are also present in his best-known late works. Revueltas's is a unique and provocative decolonial art that pokes fun at the cosmopolitanistic fantasies of his Eurocentric peers at home as well as exoticizing expectations abroad. Unveiling the sense behind Revueltas's irony and the form political passion takes on in his music is the intention behind Kolb-Neuhaus's hermeneutic approach, which intertwines Revueltian art with his writings and political actions"--
Author: Patricia Seed
Publisher: University of Texas Press
ISBN: 0292752873
Category : Performing Arts
Languages : en
Pages : 289
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Book Description
José Limón (1908-1972) was one of the leading figures of modern dance in the twentieth century. Hailed by the New York Times as "the finest male dancer of his time" when the José Limón Dance Company debuted in 1947, Limón was also a renowned choreographer who won two Dance Magazine Awards and a Capezio Dance Award, two of dance's highest honors. In addition to directing his own dance company, Limón served as artistic director of the Lincoln Center's American Dance Theater and also taught choreography at the Juilliard School for many years. In this volume, scholars and artists from fields as diverse as dance history, art history, Mesoamerican ethnohistory, Mexican American studies, music studies, and Mexican history come together to explore one of José Limón's masterworks, the ballet La Malinche. Offering many points of entry into the dance, they examine La Malinche from various angles, such as Limón's life story and the influence of his Mexican heritage on his work, an analysis of the dance itself, the musical score composed by Norman Lloyd, the visual elements of props and costumes, the history and myth of La Malinche (the indigenous woman who served the Spanish conquistador Hernán Cortés as interpreter and mistress), La Malinche's continuing presence in Mexican American culture, and issues involved in a modern restaging of the dance. Also included in the book is a DVD written and directed by Patricia Harrington Delaney that presents the ballet in its entirety, accompanied by expert commentary that sets La Malinche within its artistic and historical context.
Author: Patricia A. Ybarra
Publisher: University of Michigan Press
ISBN: 0472116797
Category : Mexican drama
Languages : en
Pages : 290
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Book Description
An unprecedented reading of Mexican history through the lens of performance
Author:
Publisher: Erasmus Ediciones
ISBN: 8415462123
Category :
Languages : en
Pages : 190
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Book Description
Author: Sarah J. Townsend
Publisher: Northwestern University Press
ISBN: 0810137429
Category : Performing Arts
Languages : en
Pages : 428
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Book Description
A certain idea of the avant-garde posits the possibility of a total rupture with the past. The Unfinished Art of Theater pulls back on this futuristic impulse by showing how theater became a key site for artists on the semiperiphery of capitalism to reconfigure the role of the aesthetic between 1917 and 1934. The book argues that this “unfinished art”—precisely because of its historic weakness as a representative institution in Mexico and Brazil, where the bourgeois stage had not (yet) coalesced—was at the forefront of struggles to redefine the relationship between art and social change. Drawing on extensive archival research, Sarah J. Townsend reveals the importance of projects and texts that belie the rhetoric of rupture and immediacy associated with the avant-garde: ethnographic operas with ties to the recording industry, populist puppet plays, children’s radio programs about the wonders of technology, a philosophical drama about the birth of a new race, and an antifascist spectacle written for (but never performed at) a theater shut down by the police. Ultimately, the book makes the case that the very category of avant-garde art is bound up in the experience of dependency, delay, and the uneven development of capitalism.
Author: Elna Matamoros
Publisher: Alexander Verlag Berlin
ISBN: 3895815578
Category : Art
Languages : en
Pages : 479
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Book Description
The subTexte series of the IPF-Institute for the Performing Arts and Film, is dedicated to presenting original research within two fields of inquiry: Performative Practice and Film. The series offers a platform for the publication of texts, images, or digital media emerging from research on, for, or through the performative arts or film. The series contributes to promoting practice-based art research beyond the ephemeral event and the isolated monograph, to reporting intermediate research findings, and to opening up comparative perspectives. www.zhdk.ch/forschung/ipf
Author: Jose Luis Reynoso
Publisher: Oxford University Press
ISBN: 0197622550
Category : History
Languages : en
Pages : 297
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Book Description
This book analyzes how national and international dancers contributed to developing Mexico's cultural politics and notions of the nation at different historical moments. It emphasizes how dancers and other moving bodies resisted and reproduced racial and social hierarchies stemming from colonial Mexico (1521-1821). Relying on extensive archival research, choreography as an analytical methodology, and theories of race, dance, and performance studies, author Jose Reynoso examines how dance and other forms of embodiment participated in Mexico's formation after the Mexican War of Independence (1821-1876), the Porfirian dictatorship (1876-1911), and postrevolutionary Mexico (1919-1940). In so doing, the book analyzes how underlying colonial logics continued to influence relationships amongst dancers, other artists, government officials, critics, and audiences of different backgrounds as they refashioned their racial, social, cultural, and national identities. The book proposes and develops two main concepts that explore these mutually formative interactions among such diverse people: embodied mestizo modernisms and transnational nationalisms. 'Embodied mestizo modernisms' refers to combinations of indigenous, folkloric, ballet, and modern dance practices in works choreographed by national and international dancers with different racial and social backgrounds. The book contends that these mestizo modernist dance practices challenged assumptions about racial neutrality with which whiteness historically established its ostensible supremacy in constructing Mexico's 'transnational nationalisms'. This argument holds that notions of the nation-state and national identities are not produced exclusively by a nation's natives but also by historical transnational forces and (dancing) bodies whose influences shape local politics, economic interests, and artistic practices.
