FALL 1999
This information effective for Fall 1999.
Check with instructor the first day of class for any changes.
(Course Information from Fall of 1998) Mark Franko/Theater Arts 134/Fall 1998 Introduction This course provides an introduction to the major choreographers of twentieth century modernism. Starting with nineteenth-century narrative ballet, we move on to the movement and design innovations in theatrical dancing between 1900 and the 1980s, principally in Europe and America. Theoretical and historical approaches to writing about choreography will be developed through in-class discussion and regular short papers. Required: Class Reader (at UCSC Copy Center, Communications Bldg.) and Mark Franko, Dancing Modernism/Performing Politics (Bay Tree Book Store). The bibliography contains suggested critical readings to complement the topics of each week or to refer to in your papers. It also includes historical background readings, and many videos available at McHenry Library. Please use the bibliography in consultation with your professor. The assigned class readings are coordinated with in-class viewings of video tape or film pertaining to the readings. Since videos and films will often be viewed as part of lecture/discussions, your regular attendance is crucial. More than two absences during the quarter will adversely effect your final evaluation. Certain viewings are assigned outside class and are on reserve at McHenry media center. You are expected to come to class having done the readings on the syllabus for that day, and having viewed the videos if assigned. You should be prepared to discuss them. Your consistent presence and verbal participation are an important requirement of this course. Other requirements are four short topical essays, a midterm exam, and a take-home final paper. The four short papers (some are 2 , others are 3 pages, typed and double-spaced) respond to a specific thought question on readings and dances. The midterm exam is factual and relates to identifications, styles, and dates. The final paper is an extended analysis of a choreographic work or works (7 pages) in connection with historical context and an interpretive argument. Our goals are to bring visual perception, critical thinking, and historical context to the analysis of choreography. Dance Modernism/Franko COURSE OUTLINE I. Romantic Ballet: Classical Conventions, Narrative, and Ideology Oct 1 Introduction [Auguste Bournonville, Royal Danish Ballet (1903); "Tarantella" from Napoli (1842)] view for next class: Giselle (1841) (VT2114) (week one) Oct. 6 Evan Alderson, "Ballet as Ideology: Giselle, Act II" Susan Foster, "Giselle, ou les Wilis (1841)" Essay #1 due today: How does dancing in Giselle tell a story? (2 pgs, typewritten & double-spaced) Oct 8 In class quiz on Alderson and Foster essays you are required to attend Histories of Water on Sunday, Oct. 11 at 7:30pm at Performing Arts -- a two-page essay about the performance is due on Tuesday , Oct 13th view for next class: On Dancing Isadora's Dances (VT2581) II. Art Dance: the Female Soloist (week two) Oct. 13 Duncan, "The Dance of the Future (1903)" [clips of Loïe Fuller imitators; Dance of the Furies, Narcissus (1898), Revolutionary Etude, Blessed Spirit, Mother, Blue Danube (1902)] Essay #2 due today Oct. 15 Daly, "The Dancing Body" (Done Into Dance: 63-5) Franko,"The Invention of Modern Dance" (Dancing Modernism: 1-20) Dance Modernism/Franko III. Fokine, Pavlova, and the Ballets Russes (week three Oct. 20 [Michel Fokine, The Dying Swan (1905); Les Sylphides (1909), Spectre de la rose (1911)] IV. High Modernism: Nijinsky Oct. 22 Romola Nijinsky, "L'Après-midi d'un faune" (1934) Millicent Hodson, "In Search of Nijinsky's Chosen One" (1987) Jacques Rivière, "Le Sacre du Printemps" (1913) [Nijinsky, Afternoon of a Faun (1912); The Rite of Spring (1913) in the 1987 Millicent Hodson reconstruction] V. Ausdruckstanz (week four) Oct. 27 Wigman, "Stage Dance -- Stage Dancer," "The Mask," "Group Dance/Choreography" (1927) Manning, "Ideology and Absolute Dance," and "Mask and Gemeinschaft" (from Feminism & Nationalism: 25-30). (1993) [Clips from Wigman, Wandering (1924), Witch Dance (1926), Seraphic Song (1929); Dore Hoyer, Affectos Humanos (1967); clips of Valeska Gert, Gret Palucca, Laban (Mass Choirs at the Olympic Games, 1936)] VI. Twenties Neo-Classicism Oct. 29 Nijinska, "On Movement and the School of Movement" Garafola, "Bronislava Nijinska: A Legacy Uncovered" Balanchine, "The Dance Element in Stravinsky's Music" [Meyerhold, "Bio-mechanical exercises" (1920s); Nijinska, Les Noces (1923); Balanchine, Apollo (1928); excerpt from Balanchine, Concerto Barocco (1941)] Essay #3 due today: The development of a modern style in Fokine, Duncan, and Nijinsky (3 pgs) Dance Modernism/Franko VII. Modern Dance in America: the thirties and forties (week five) Nov. 3 Franko, "Emotivist Movement and Histories of Modernism: the Case of Martha Graham" (Dancing Modernism: 38-57) [Michio Ito, Pizzicato (1916), Ecclesiastique (1922), Warrior (1928), Tragedy (1931); Graham, Heretic (1929), Lamentation (1930); clips of Humphrey/Weidman; Humphrey, Air for the G String (1934); Nov. 5 Jane Dudley, Harmonica Breakdown (1938); Valerie Bettis, The Desperate Heart (1941); Martha Graham, Night Journey (1947)] Essay #4 due today: close reading of a dance,either Witch Dance, Affectos Humanos, or Les Noces (3 pages) VIII. Sixties Task Work: Cunningham/Rainer/Paxton (week six) Nov. 10 Cunningham, "The Impermanent Art" Franko, "Expressivism and Chance Procedure" (Dancing Modernism: 75-87) Johnston, "The New American Modern Dance" [Merce Cunningham, Septet (1955), Story (195 ) Coast Zone (1983)] Nov. 12 Please note: This class will be divided into two parts: Copeland, "Post-Modern Dance and the Repudiation of Primitivism" Yvonne Rainer, "The Mind is a Muscle" & "No to . . ." [Rainer, Trio A (1966)] Cynthia Novack, "Looking at Movement as Culture" Ramsay Burt, "Dance, Masculinity, and Postmodernism" [clips of Ted Shawn and his Men Dancers (1933); Steve Paxton, clips of contact improvisation (1970s)] IX. Tanztheater (week seven) Nov. 17 Pina Bausch, Rite of Spring (1975) Nov. 19 In-class Midterm exam XII. Shared Codes: Choreographic Re-Writing (week eight) Nov. 24 [Deshayes, "Kingdom of the Shades" from La Bayadère (1831); David Gordon, "The Matter"; Don Quixote & Béjart, Salomé (Patrick Dupond, excerpt); Balanchine, Serenade (1934) excerpt; Richard Bull, Another Serenade; Petipa/Bourne, Swan Lake, Act II] Thanksgiving XIII. Uses and Abuses of History (week nine) Dec. 1 Pinero, "Identifying with Dido and Aeneas" [Mark Morris, Dido and Aeneas (1989)] XIV. Butoh Dance Dec 3 "Kazuo Ohno does not Commute" [Butoh: Body on the Edge of Crisis] (week ten) Dec. 8 Franko, "Where He Danced"(Dancing Modernism: 93-107) [Kazuo Ohno, Water Lilies (1988)] Final Paper Due Monday Dec. 10 (7 pages) The interpretation of a dance (Morris, Bausch or Ohno) Discuss the choreography in relation to earlier dance being recycled, commented on, or parodied. How is new meaning created by referencing earlier performers, styles, or ideas? Bibliography I. Dance Studies: General Sources Adair, Christy. Women and Dance. Sylphs and Sirens. New York: New York University Press, 1992. Burt, Ramsay. The Male Dancer. Dance, Masculinity, Spectacle. London: Routledge, 1995. Discusssion of dance history from 19th-century ballet to postmodern dance from the perspective of changing male identity. ---. Alien Bodies. Representations of modernity, 'race' and nation in early modern dance. London: Routledge, 1998. Cohen, Selma-Jeanne. Next Week, Swan Lake. Middletown: Wesleyan University Press, 1982. Framework of traditional dance aesthetics. Copeland, Roger and Marshall Cohen, eds. What is Dance? Readings in Theory and Criticism. New York: Oxford University Press, 1983. Source readings in many areas. Foster, Susan, ed. Corporealities. Dancing, Knowledge, Culture and Power. London: Routledge, 1995. New directions in dance studies. Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993. Historical and theoretical background of ballet structures, experimentation in the early modern period, and the relation of politics to aesthetics in theater dance. McCarren, Felicia. Dance Pathologies: Performance, Poetics, Medicine. Stanford: Stanford University Press, 1988. Dance and hysteria: includes discussions of Giselle and Loie Fuller. The International Encyclopedia of Dance. New York: Oxford University Press, 1998. II. Modernism Eksteins, Modris. Rites of Spring. The Great War and the Birth of the Modern Age. New York: Doubleday, 1989. D523E37 1990. Stresses modernist sexual revolution as personnified by Nijinsky, and the scandal of Rite. Franko, Mark. Dancing Modernism/Performing Politics. Bloomington: Indiana University Press, 1995. Kern, Stephen. The Culture of Time and Space, 1880-1918. Cambridge, Mass.: Harvard University Press, 1983. CB478K461983. Levinson, André. André Levinson on Dance: Writings from Paris in the Twenties. Ed. Joan Acocella & Lynn Garafola. Hanover, N.H.: Wesleyan University Press, 1991. Lunn, Eugene, Marxism and Modernism. An Historical Study of Lukacs, Brecht, Benjamin, and Adorno. Berkeley: University of California Press, 1982. See especially, "Modernism in Comparative Perspective," pp. 33-74. Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley: University of California Press, 1996. III. Nineteenth-Century Classical Ballet Alderson, Evan. "Ballet as Ideology: Giselle, Act II," in Dance Chronicle 10/3 (1987): 290-304. Aschengreen, Erik. "The Beautiful Danger: Facets of the Romantic Ballet." Dance Perspectives 58 (Summer 1974). August Bournonville. My Theatre Life. Trans. Patricia McAndrew. Middletown: Wesleyan University Press, 1979. ---."The Ballet Poems of August Bournonville: the Complete Scenarios," in Dance Chronicle vol. 3, no. 2 (1979). Volume 3, no. 2 is a Bournonville issue, and the scenarios are republished in several succedding issues. Chapman, John. "An Unromantic View of Nineteenth-Century Romanticism," in York Dance Review 7 (Spring 1978): 28-45. Foster, Susan. Choreography and Narrative. Ballet's Staging of Story and Desire. Bloomington: Indiana University Press, 1996. Feminist analysis of the European development of theatical dancing. Garafola, Lynn. "The Travesty Dancer in Nineteenth-Century Ballet," in Crossing the Stage. Controversies in Cross-Dressing. Ed. Lesley Feris. New York: Routledge, 1993: 96-106. See also, Dance Research Journal 17/2 & 18/1 (1985-86): 35-40. Rethinking the Sylph: New Perspectives on the Romantic Ballet, ed. Lynn Garafola. Middletown: Wesleyan University Press, 1997. New articles on romantic ballet that attempt to circumvent the ideological perspective of Alderson and Foster. Kirstein, Lincoln. "Classic Ballet: Aria of the Aerial," in What is Dance?: 238-243. topics: the role of narrative in romantic ballet; the positioning of gender in romantic ballet IV. Dance in Popular Culture Allen, Robert C. Horrible Prettiness. Burlesque and American Culture. Chapel Hill: The University of North Carolina Press, 1991. Koritz, Amy. "Salomé. Exotic Woman and the Transcendent Dance," in Gender and Discourse in Victorian Literature and Art, eds. Beverly Taylor and Anthony H. Harrison. Dekalb, Illinois: Northern Illinois University Press, 1992: 251-73. ---. "Moving Violations: Dance in the London Music Hall, 1890-1910," in Theatre Journal 42/4 (December 1990): 419-31. Martin, Carol. Dance Marathons: Performing American Culture in the 1920s and 1930s. Jackson: The University of Mississippi Press, 1994. Savigliano, Marta E.. Tango and The Political Economy of Passion Boulder, Colorado: Westview Press, 1995. GV1796.T3 S28 1995 Woll, Allen. Black Musical Theatre. New York: Da Capo, 1989. V. Orientalism in Historical Modern Dance Clifford, James. "On Orientalism," in The Predicament of Culture. Twentieth-Century Ethnography, Literature and Art. Cambridge, Mass.: Harvard University Press, 1988. A critique of Saïd's position. Desmond, Jane. "Dancing Out the Difference: Cultural Imperialism and Ruth St. Denis's 'Radha' of 1906," in Signs 17/1 (Autumn 1991): 28-49. Koritz, Amy. "Dancing the Orient for England: Maud Allen's 'The Vision of Salome,'" in Theatre Journal 46 (1994): 63-78. Cultural studies approaches stressing the interaction of race, imperialist nationalism, and the positioning of femininity (the dancer's body) between them. Saïd, Edward. Orientalism. New York: Columbia University Press, 1978. Schlundt, Christina L. "Into the Mystic with Miss Ruth," in Dance Perspectives 46 (Summer 1971). Text by Denishawn expert Christina Schlundt. Shelton, Suzanne. Divine Dancer. A Biography of Ruth St. Denis. New York: Doubleday, 1981. Sherman, Jane. The Drama of Denishawn Dance. Middletown: Wesleyan U. P., 1979. Close description of Denishawn repertory from 1914-1926 by a former Denishawn dancer. topics: Orientalism and the early modern dance female soloist VI. Symbolist Performance (Loïe Fuller) Deak, Frantisek. Symbolist Theater. The Formation of an Avant-Garde. Baltimore: The Johns Hopkins University Press, 1993. See esp. "Mallarmé's Conceptual Theater," pp. 58-93. Kermode, Frank. "The Dancer," in Romantic Image. London: Routledge & Kegan Paul, 1957: 49-91. ---. "Poet and Dancer Before Diaghilev," in Puzzles and Epiphanies. Essays and Reviews 1958-1961. London: Routledge & Kegan Paul, 1962: 1-28. Koritz, Amy. Gendering Bodies/Performing Art. Dance and Literature in Early Twentieth-Century British Culture. Ann Arbor: University of Michigan Press, 1995. PR478.D35 K67 1995 Mallarmé, Stéphane. "Ballets" in What is Dance?: 111-114. McCarren, Felicia. "Stéphane Mallarmé, Loïe Fuller, and the Theater of Femininity," in Bodies of the Text: Dance as Theory, Literature as Dance. New Brunswick: Rutgers University Press, 1995. ---. "The 'Symptomatic Act' Circa 1900: Hysteria, Hypnosis, Electricity, Dance," in Critical Inquiry 21/4 (Summer 1995): 748-774. Pridden, Deirdre. "'L'acte pur des métamorphoses' P. Valéry and H. Bergson," in The Art of the Dance in French Literature from Théophile Gautier to Paul Valéry. London: Adam and Charles Black, 1952: 126-161. Sommer, Sally R. "Loïe Fuller," in The Drama Review 19/1 (March 1975): 53-67. Valéry, Paul. "Philosophy of the Dance." Aesthetics. Trans. Ralph Manheim. New York: Pantheon, 1964: 197-211. Also in What is Dance?: 55-65. VII. Art Dance (Isadora Duncan) Adler, Norma. "Reconstructing the Dances of Isadora Duncan." The Drama Review 28/3 (Fall 1984): 59-66. Daly, Ann. Done Into Dance. Isadora Duncan in America. Bloomington: Indiana University Press, 1995. Kendall, Elizabeth. Where She Danced. The Birth of American Art-Dance. Berkeley: University of California Press, 1979. Duncan in relation to dress reform and the woman's movement. Duncan, Isadora. My Life. New York: Liveright, 1927. ---. The Art of the Dance, edited by Sheldon Cheney. New York: Liveright, 1928. Contains many essays by Duncan: GV1783 D78 1970. ---. Isadora Speaks. San Francisco: City Lights Books, 1981. Contains previously unpublished writings by Duncan. GV 1785 D8 A25 1981. Ruyter, Nancy Lee Chalfa. Reformers and Visionaries. The Americanization of the Art of Dance. New York: Dance Horizons, 1979. Focuses mainly on the Denishawn's school's bid for bourgeois respectability in American society. ---. "The Intellectual World of Genevieve Stebbins," in Dance Chronicle 11/3 (1988): 381-397. Stebbins, Genevieve. Delsarte System of Expression. 1902. Rpt. New York: Dance Horizons, 1977. Walkowitz, Abraham. Isadora Duncan in Her Dances. Girard, Kansas: Haldemann-Julius, 1945, Good iconography of Duncan in motion. Interesting essays. GV1785 D8 W3. [See also: articles on Duncan in What is Dance? Section I of this bibliography.] topics: Duncan's aesthetic of "natural" dance Duncan's reinvention of the Greek Chorus. VIII. Nijinsky Baer, Nancy van Norman, ed. The Art of Enchantment. Diaghilev's Ballets Russes, 1909-1929. San Francisco: San Francisco Fine Arts Museum, 1988. Burt, Ramsay. "Nijinsky, Modernism and Heterodox Representations of Masculinity," in The Male Dancer (see section I above): 74-100. Cocteau, Jean. "Le Sacre du Printemps," in Stravinsky in the Theatre. New York: Da Capo, 1975: 13-20. Michel Fokine, Fokine. Memoirs of a Ballet Master. Boston: Little Brown & Co., 1961. Interesting material (129-134) on the development of Chopiniana (Les Sylphides). GV1785.F6.A3. Garafola, Lynn. Diaghilev's Ballets Russes. New York: Oxford, 1989. The latest historical account of the Diaghilev era. Hodson, Millicent. "Sacre: Searching for Nijinsky's Chosen One," in Ballet Review 15/3 (Fall 1987): 53-66. ---. "Ritual Design in New Dance: Nijinsky's Choreographic Method," in Dance Research 3/2 (Autumn 1985): 35-45, and 4/1 (Spring 1986): 63-77. ---. "Nijinsky's Choreographic Method: Visual Sources from Roerich for Le Sacre du Printemps," in Dance Research Journal 18/2 (Winter 1986-87): 7-15. Kirstein, Lincoln. Nijinsky Dancing. New York: Alfred A. Knopf, 1975. Includes essays by Denby and Rivière. Magriel, Paul, ed. Nijinsky, Pavlova, Duncan. Three Lives in Dance. New York: Da Capo, 1977. Reprint of three books in one: many contemporary accounts of these artists & good bibliographies. Nijinsky, Romola. Nijinsky (1934). Biography of Nijinsky by his wife. Excellent picture of artistic trends of time and personal history of Nijinsky. Nijinsky, Vaslav. The Diary of Vaslav Nijinsky (1937). Meditations and drawings of choreographer at a time he was clinically insane. Rivière, Jacques. "Le Sacre du Printemps," in What is Dance?: 115-122. topics: Nijinsky as inventor of modernism; The original Rite of Spring aesthetic X. German Expressionism Foster, John. The Influences of Rudolph Laban. London: Lepus Books, 1977. GV1785 L2 F67. Hodgon, John & Valerie Preston-Dunlop, Rudolf Laban. An Introduction to his Work and Influence. GV1785 .L2 H63 1990. De Keersmaeker, Anne Teresa. "Valeska Gert," in The Drama Review 25/3 ((Fall 1981): 55-66. Manning, Susan. "Ideology and Performance Between Weimar and the Third Reich: The Case of Totenmal." Theatre Journal 41, no. 2 (May 1989): 211-223. Political ramifications of German modern dance. ---."The Mythologization of the Female: Mary Wigman and Martha Graham, A Comparison," in Ballett International 14, no. 9 (Sept. 1991): 10-15. ---. Ecstasy and the Demon. Feminism and Nationalism in the Dances of Mary Wigman. Berkeley: University of California Press, 1993. First full-scale critical study of Wigman's choregraphic output. Schrifttanz: A View of German Dance in the Weimar Republic, edited by Valerie Preston-Dunlop and Susanne Lahusen. Excerpts from the writing of various German modern dancers, including Gert, Schlemmer, Laban. GV1783 .P74 1990 Toepfer, Karl. "Speech and Sexual Difference in Mary Wigman's Dance Aesthetic," in Gender as Performance: 260-278. Wigman, Mary. The Mary Wigman Book. Her Writings, edited by Walter Sorell. Middletown: Wesleyan U.P, 1973. topics: dance under fascism modern dance in sexual and class politics of the thirties Laban's theorization of space and effort: an aesthetic perspective The idea of movement-choirs XI Martha Graham's Work Graham, Martha. "Affirmations, 1926-1937" in Martha Graham, ed. Merle Armitage. Princeton: Princeton Book Company, 1966. Essays on Grahams and her collected sayings/writings of the thirties and forties. GV1785G7A7 1966 ---. "Seeking an American Art of Dance," in Revolt in The Arts. New York: Brentanos, 1930: 249-255. ---. "A Modern Dancer's Primer for Action (1941)," in Dance as a Theater Art. Readings in Dance History from 1581 to the Present. Ed. Selma-Jeanne Cohen. New York: Harper & Row, 1974: 135-143. ---. Blood Memory. New York: Doubleday, 1991. Graham's late autobiography. DeMille, Agnes. Martha. New York: Random House, 1991. Insider biography. Horosko, Marian, editor. Martha Graham: the Evolution of her Dance Theory and Training. 1926-1991. Pennington, NJ: A Cappella Books, 1992. About Graham training with many generations of dancers. Morgan, Barbara. Martha Graham. Sixteen Dances in Photographs. Dobbs Ferry, N.Y.: Morgan & Morgan, 1941. Striking photographic record. See Graham's essay, "Dancer's Focus," p. 11. Ocko. Edna. "Martha Graham Dances in Two Worlds," in New Theatre. (July 1935): 26. topic: Graham between modernism and radicalism XII. Modernist Neoclassicism from Nijinska to Balanchine Baer, Nancy Van Norman. Bronislava Nijinska. A Dancer's Legacy. San Francisco: Fine Arts Museums of San Francisco, 1986. Balanchine, George. "The Dance Element in Stravinsky's Music," in Stravinsky in the Theatre. Ed. Minna Lederman. New York: Da Capo, 1975: 75-84. Brady, Joan. The Unmaking of a Dancer: An Unconventional Life. New York: Harper and Row, 1982. Daly, Ann. "Of Hummingbirds and Channel Swimmers," in The Drama Review 31/1 (Spring 1987): 8-21. Garafola, Lynn. "Bronislava Nijinska: A Legacy Uncovered," in Women and Performance 3/2 (1987-88): 78-89. ---. Diaghilev's Ballets Russes. New York: Oxford, 1989. Gordon, Suzanne. Off Balance: The Real World of Ballet. New York: Pantheon, 1983. Levin, David Michael. "Balanchine's Formalism," in What is Dance?: 123-144. Nijinska, Bronislava. "On Movement and the School of Movement," in Schrifttanz: 55-59. See Section X of bibliography. Vincent, L. M. Competing with the Sylph: Dancers and the Pursuit of the Ideal Body Form. New York: Berkeley, 1981. topics: Nijinska and/or Balanchine and the female body XIII. Other Modern Dance Directions since Duncan. Cohen, Selma-Jeanne, editor. The Modern Dance. Seven Statements of Belief. Middletown, Connecticut: Wesleyan University Press, 1966. Essays by Limon, Sokolow, Hawkins, McKayle, Nikolais, Koner, Taylor. Novack, Cynthia J. Sharing the Dance. Contact Improvisation and American Culture. Madison: University of Wisconsin Press, 1990. First ethnography of American dance. Siegel, Marcia. "Modern Dance Before Bennington: Sorting it All Out," in Dance Research Journal 19/1 (Summer 1987): 3-9. ---. Days on Earth: the Dance of Doris Humphrey. New Haven: Yale University Press, 1987. Warren, Larry. Lester Horton. Modern Dance Pioneer. New York: Dekker, 1977. First study of the West coast modern dance pioneer. ---. Anna Sokolow. The Rebellious Spirit. Princeton: Dance Horizons, 1991. First biography of Anna Sokolow. GV1785 .S59 W37 1991 topics: Modern dance and American cultural politics XIV. African-American Dance Aschenbrenner, Joyce. Katherine Dunham. Reflections on the Social and Political Contexts of Afro-American Dance. Dance Research Annual XII (New York: Cord, 1980). GV1624.7A34A83. Clark, VèVè and Margaret B. Wilkerson, eds. Kaiso! Katherine Dunham. An Anthology of Writings. Berkeley: Institute for the Study of Social Change, 1978. Dunham, Katherine. Island Possessed. Chicago: University of Chicago Press, 1969. Emery, Lynne Fauley. Black Dance from 1619 to Today. Princeton: Princeton Book Company, 1988. Revised edition, has good bibliography. GV1624.7N4E44 Hazard Gordon, Katrina. Jookin'. The Rise of Social Dance Formations in African-American Culture. Philadelphia: Temple University Press, 1990. GV1624.7.A34H39 Long, Richard A. The Black Tradition in American Dance. London: Multimedia Books, 1989. GV1624.7.A34L66 Perpener III, John O. "African American Dance and Sociological Positivism During the 1930s," in Studies in Dance History [Of, by, and For the People: Dancing on the Left in the 1930s 5/1 (Spring 1994): 23-30. This volume also includes other articles on left-wing dance in the 1930s and selections from the dance criticism of Edna Ocko. Thorpe, Edward. Black Dance. London: 1989. GV1603.T49. Dance Research Journal: Popular Dance in Black America 15/2 (Spring 1983). topics: African-American artists in modern dance (Dunham, Beatty, Ailey, or others). XV. Asian Choreographers Caldwell, Helen. Michio Ito. The Dancer and His Dances. Berkeley: University of California Press, 1979. Holborn, Mark, et. al. Butoh: Dance of the Dark Soul. New York: Aperture, 1987. Writings of various Butoh dancers. Ohno, Kazuo. "Kazuo Ohno Doesn't Commute. An Interview with Richard Schechner," in The Drama Review 30/2 (1986): 163-69. ---. "Selections From the Prose of Kazuo Ohno," in The Drama Review 30/2 (1986): 156-162. Stein, Bonnie Sue. "Butoh. 'Twenty Years Ago We Were Crazy, Dirty, and Mad,'" in The Drama Review 30/2 (Summer 1986): 107-125. topics: Modernist performance by Ito or Ohno. XVI. Merce Cunningham Copeland, Roger. "Merce Cunningham and the Politics of Perception," in What is Dance?: 307-324. Cunningham, Merce. "The Impermanent Art," in Esthetics Contemporary. Ed. Richard Kostelanetz. Buffalo, New York: Prometheus, 1978. Jones, Caroline A. "Finishing School: John Cage and the Abstract Expressionist Ego," in Critical Inquiry 19 (Summer 1993): 628-665. Lesschaeve, Jacqueline, in conversation with Merce Cunningham. The Dancer and the Dance. New York: Marion Boyars, 1985. topics: Cunningham's aesthetic of chance XVII. Postmodern Dance The Grand Union GV1786.G65R36 1991 Banes, Sally. Terpsichore in Sneakers. Post-Modern Dance. Boston: Houghton Mifflin, 1977. ---. Democracy's Body. Judson Dance Theater 1962-1964. Ann Arbor, Michigan: UMI Research Press, 1983. GV1786J82B36 1983 ---. Greenwich Village 1963. Avant-Garde Performance and the Effervescent Body. Durham: Duke University Press, 1994. Postmodernism and Dance: Discussion Papers. West Sussex: Institute of Higher Education, 1991. GV1783.P67 1991. Good article on the gender politics of Cunningham versus contact improvisation: Ramsay Burt, "Dance, Masculinity, and Postmodernism,": 23-32. Copeland, Roger. "Postmodern Dance and the Repudiation of Primitivism," in The Partisan Review (1983): 101-121. Foster, Susan. "The Signifying Body: Reaction and Resistance in Postmodern Dance," in Theatre Journal 37/1 (March 1985): 45-64. Johnston, Jill. "The New American Modern Dance," in Salmagundi 33-34 (1976): 149-174. Rainer, Yvonne. Work 1961-73. (New York: New York University Press, 1974). [See also: The Drama Review [Post-Modern Dance Issue] 19/1 (March 1975). Articles by Brown, Childs, Dean, Forti, Gordon, Jonas, Paxton] XVIII. Tanztheater Birringer, Johannes. Theatre, Theory, Postmodernism. Bloomington: Indiana University Press, 1991. See chapter on Bausch. Goldberg, Marianne. "Artifice and Authenticity: Gender Scenarios in Pina Bausch's Dance Theatre," in Women and Performance 4/2 (1989): 104-117. Manning, Susan. "Interrupted Continuities," and "An American Perspective on Tanztheater," in The Drama Review 30/2 (Summer 1986): 30-45 & 57-79. Price, David. "The Politics of the Body: Pina Bausch's Tanztheater," in Theater Journal 42/3 (Oct. 1990): 322-31. Wehle, Philippa. "Pina Bausch's Tanztheater -- A Place of Difficult Encounter," in Women and Performance 1/2 (Winter 1984): 25-36. XIX. Selected Journals of (or that include) Dance Scholarship Ballet Review Dance Chronicle Dance Research (London) Dance Research Journal Dance Perspectives The Drama Review (TDR) New Theatre (1930s)(also called: New Theatre and Film) Society of Dance History Scholars Procedings Theatre Journal Women and Performance VIDEOGRAPHY The following are available at McHenry Library Media Center Royal Danish Ballet in 1903 (film) : FI 711 Giselle (Fracci & Bruhn): VT2114 "Portrait of Giselle": VT1975 "Ballerinas": VT1976 "The Romantic Era": VT1970 "Isadora Duncan: Movement from the Soul": VT1863 Schlemmer, Bauhaus Dances: VT1568 "Mary Wigman: When the Fire Dances Between the Poles": VT 1573 Trailblazers of Modern Dance (contains many clips we have seen in class of Duncan and Denishawn): VT 451 Meyerhold bio-mechanical exercises and recreation of The Magnanimous Cuckold: VT 1860 Erick Hawkins: VT1886 Katherine Dunham (interview): VT1864 "Hanya: Portrait of a Pioneer," VT949 "Shimazaki dances Duncan and Shimazaki": VT1944 "Dances from the Repertory of Michio Ito": VT1943 Valerie Bettis, The Desperate Heart VT1942 Deren: Study in Choreography for Camera: F612 (film only) Nikolais/Emshwiller: Totem, F113 (film); VT1285 (VHS) Kazuo Ohno, Suiren, VT1922 "Butoh: Body on the Edge of Crisis," VT1867 "Charles Weidman on his own," VT1866 "Men Who Danced" (on Ted Shawn's all-male company), VT1998 "Barbara Morgan," (dance photographer) VT2025 "Anna Sokolow: Choreographer," VT1911 Richard Bull Dance Theater, VT1665 Rainer, Trio A: FI712 "Women with a Past" (interview with Rainer): VT1190 Bonnie Bird demonstrates Martha Graham technique (1938): film: FI711 Kreutzberg, The Eternal Circle (film): FI713 "Dance Black America" VT2033 "Alive from Off-center, #207, VT542 (Brown, Parsons, Moulton) New Dance Group Gala Concert VT2606 Richard Bull Dance Theater VT 1665 Check video catalogue at Media Center for many videos of Martha Graham and Merce Cunningham. TA 134 M. Franko MAIN READER: DANCE MODERNISM 1. Alderson, "Ballet as Ideology: Giselle, Act II" (1987) 2. Sommer, "Loïe Fuller" (1975) 3. McCarren, "The 'Symtomatic Act' Circa 1900: Hysteria, Hypnosis, Electricity, Dance" (1995) 4. Duncan, "The Dance of the Future" (1903) 5. Daly, from Done Into Dance (1995) 6. Hodson, Sacre: Searching for Nijinsky's Chosen One" (1987) 7. Berman, "Modernity -- Yesterday, Today and Tomorrow" (1982) 8. Wigman, "Stage Dance -- Stage Dancer," "The Mask," "Group Dance/Choreography" (1927) 9. Manning, "Ideology and Absolute Dance" and "Mask and Gemeinschaft"(1993) 10. Nijinska, "On Movement and the School of Movement" (1930 11. Garafola, "Bronislava Nijinska: A Legacy Uncovered" (1987) 12. Balanchine "The Dance Element in Stravinsky's Music" 13. Sears & Dudley, "Breaking Down Harmonica Breakdown" 14. Savigliano, "Tango as a Spectacle of Sex, Race, and Class" (1993) 15. Hutcheon, "Encoding and Decoding Shared Codes of Parody" (1985) 16. Copeland, "Postmodern Dance and The Repudiation of Primitivism" (1983) 17. Rainer, "The Mind is a Muscle" (1966) 18. Novack, "Looking at Movement as Culture" (1988) 19. Peraino, "I am an Opera: Identifying with Purcell's Dido and Aeneas 20. Ohno and Schechner (interview), "Kazuo Ohno Doesen't Commute" (1986)
TA 134 M. Franko SUPPLEMENTARY READER: DANCE MODERNISM 1. Gautier, "The Book of Giselle" 2. Walkowitz, Drawings of Isadora Duncan 3. Rivière, "Le Sacre du Printemps" (1913) 4. Ocko, "Martha Graham Dances in Two Worlds" (1935) 5. Cunningham, "The Impermanent Art" (1955) 6. Rainer, "No To" Manifesto (1966) 7. Johnston, "The New American Dance" (1976) 8. Burt, "Dance, Masculinity, and Postmodernism"