By Libby Worth
This guidebook lines the life's paintings of radical dance-maker Anna Halprin, documenting her early occupation as a latest dancer within the Nineteen Forties via to the improvement of her groundbreaking method of dance as an obtainable paintings shape. existence and paintings -- thought and perform -- The mountain performances, Circle the earth, and The planetary dance -- functional explorations
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A ground-breaking choice of essays that convey dance into the cultural experiences mainstream, exploring the numerous methods we use bodies as massive, important ingredients of cultural fact.
Anna Halprin pioneered what turned often called "postmodern dance," growing paintings that was once key to unlocking the door to experimentation in theater, tune, Happenings, and function artwork. this primary finished biography examines Halprin's interesting lifestyles within the context of yank culture--in specific pop culture and the West Coast as a middle of creative experimentation from the Beats throughout the Hippies.
In Sharing the Dance, Cynthia Novack considers the advance of touch improvisation inside its net of old, social, and cultural contexts. This e-book examines the methods touch improvisers (and their surrounding groups) encode sexuality, spontaneity, and gender roles, in addition to suggestions of the self and society of their dancing.
First released in 1999. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Extra info for Anna Halprin (Routledge Performance Practitioners)
Halprin also created ceremonies for the American humanistic psychology conferences (Halprin 1981). Halprin came to believe that ‘each of us is our own art’ and that restrictions in personal/emotional expression would result in corresponding artistic limitations (Halprin 1995: 112). The integration of therapeutic techniques into her creative training reﬂected Halprin’s desire to create ‘authentic’ performances and laid the foundations for the Life/Art Process which has become the hallmark of Halprin’s approach.
Exploration of improvisation in performance and task-based movement experienced with Halprin, contributed to Forti’s involvement with artists such as Allan Kaprow, Claes Oldenburg and musician La Monte Young in the creation of ‘Happenings’ when she moved to New York (Forti 1999: 149). Forti and, to a lesser extent, Morris were responsible for increasing the interchange between the East and West Coast avant-garde performance artists that had begun with John Cage’s and Merce Cunningham’s visits to California.
The intensive training programmes and the public education component (including community projects, summer workshops, public events, performances and publications) of Tamalpa have continued to reﬂect a holistic, inclusive approach to the teaching of dance. To this end the faculty offer a range of teaching skills, such as the physical awareness work of Moshe Feldenkrais, Gestalt work, active listening, collective creativity and environment work alongside the more traditional aspects of dance/theatre training.