Dance WordsValerie Preston-Dunlop In her unique collection of the verbal language of dance practitioners and researchers, Valerie Preston-Dunlop presents a comprehensive view of people in dance: what they do, their movement, their sound, and the space in which they work - from the standpoint of the performers, choreographers, audiences, administrators, and teachers. The words and phrases of their technical and vernacular languages, which are used to communicate what is essentially a non-verbal activity, have been collected in rehearsal classes and workshops by interviews, and from published sources. In this first collection of its kind Valerie Preston-Dunlop extends her selection of verbal language to include the various social and theatrical domains of dance. |
Contents
THE DANCE DOMAIN Chapter 1 The Dance Domain | 1 |
Dance in general 267 | 7 |
Genres and styles balletderived | 12 |
Modern dance and contemporary dance | 16 |
Abstract and nonliteral dances | 19 |
Dance theatre and dance drama | 21 |
Dance theatre crosscultural | 25 |
Postmodern New Dance and crossart forms | 26 |
4e Rotating | 248 |
4f Falling | 249 |
4g Contracting and extending and axial movement | 250 |
Coordinating the body in motion | 252 |
Isolations | 258 |
Body articulation | 259 |
7a Torso | 260 |
7b Legs | 263 |
Dance in musicals operas etc | 30 |
Video dance and film | 32 |
Dance as a spiritual activity | 33 |
Dance as a cultural and social activity | 36 |
Early Dance | 41 |
20th century social dance | 42 |
Dance in the community | 48 |
Dance education and training | 50 |
Administration and funding | 61 |
Dance as therapy | 69 |
Dancers health | 71 |
Dance People 1 Dancers | 74 |
Groups | 82 |
Dance makers | 85 |
Collaborating artists | 88 |
Company staff | 90 |
Musicians and speakers | 93 |
Wardrobe people | 95 |
Production | 96 |
Scholars | 98 |
Dance writers | 101 |
Spectators | 103 |
Administrators and funders | 104 |
THE PERFORMER | 107 |
The Performer 1 The performer | 108 |
Individuality and personality | 110 |
Bodies | 113 |
Approaches to kinaesthetic awareness | 117 |
4b Phenomenal experience | 121 |
4c Imaging and memory | 123 |
4d Complex experience of the consciousness of dancing | 125 |
Endeavour | 128 |
Reification | 129 |
The audition | 132 |
The Performer and The Movement 1 The performermovement relationship | 136 |
Commitment | 139 |
Technical expertise | 143 |
Holding the stage | 144 |
Focus | 146 |
Articulation | 147 |
Spontaneity | 148 |
Feeling | 150 |
Creating a role | 152 |
Casting | 155 |
Working with a choreographer | 157 |
What not to do | 159 |
Technique 1 Technique as style | 162 |
Class | 164 |
Some aims and purposes of class | 167 |
Ballet styles | 170 |
Some principles of ballet | 172 |
Some aspects of the ballet class | 175 |
Some contemporary techniques | 178 |
7b Graham and Grahambased | 180 |
7c Humphrey Limón and Limónbased | 185 |
7d Jazz dance | 189 |
Other techniques | 190 |
Working in class | 194 |
Music for class | 199 |
Costume 1 Dress | 203 |
Head and hair | 204 |
Makeup | 206 |
Footwear | 207 |
The designer | 208 |
Producing the costume | 217 |
The costume and the dancer | 220 |
MOVEMENT | 221 |
Movement and The Moving Body 1 Movement | 222 |
Movement vocabularies | 224 |
Position and process | 236 |
Actions | 239 |
4a Equilibrium and transference of weight | 241 |
4b Jumping | 244 |
4c Travelling | 245 |
4d Turning | 246 |
7c Arms | 264 |
7d Head | 266 |
Dynamics and Timing of Movement 1 Dynamics and energy | 268 |
Flow | 273 |
Gravity force and tension | 275 |
Intention and effort qualities | 280 |
Timing and accent | 283 |
Rhythm | 287 |
Phrasing | 292 |
Spaceinthebody and The Dancer in Space 1 Spaceinthebody choreutics | 296 |
The kinesphere and its maps | 297 |
Elements of orientation | 300 |
Designed movement | 305 |
Space as a harmonic system | 311 |
Spacing | 314 |
The dancer in the performance space | 317 |
Notation 1 Some notation systems | 321 |
Benesh notation system | 322 |
Labanotation | 324 |
Writing | 329 |
Reading | 333 |
Specialised notations | 335 |
CHOREOGRAPHY | 337 |
Choreographic Form 1 Kinds and forms of dance works | 338 |
Parts of dance works | 345 |
The narrative element | 348 |
Form | 351 |
Formal devices | 354 |
Choices during the performance | 367 |
Some Ensemble Group Duo and Solo Dance Concerns 1 Adapting responding partnering | 370 |
Groupensemble work | 373 |
Group improvisation | 379 |
Duet forms | 382 |
The solo dance | 387 |
Choreographic Processes 1 Choreography | 389 |
The ideasourceconceptmotivation | 393 |
The overall pattern | 402 |
Choreographerdancer dependency | 404 |
Improvisation | 409 |
THE DANCE SOUND AND THE DANCE SPACE | 429 |
The Sound and The Movement | 448 |
The Dance Space | 467 |
THE DANCE EVENT | 503 |
The Nexus and The Emergence of Style | 530 |
Communication 1 Audiencespectatorjudge and how they respond | 548 |
Spectators viewperformers view | 558 |
Legibility | 559 |
Opening the meaning | 565 |
Ways of communicating | 568 |
Communicating through videofilmTV | 574 |
DANCE RESEARCH | 577 |
Dance Research 1 Dance scholarship | 578 |
Choreology | 580 |
Analytic method | 582 |
Morphology of dance structural methods and dance studied as a language | 586 |
Dance anthropologyethnology | 590 |
Nonverbal communication theories and dance | 593 |
Sociology of dance and dance politics | 594 |
Dance history | 596 |
Dance reconstruction | 599 |
Dance philosophy and aesthetics | 600 |
Dance criticism | 603 |
Semiology of dance | 604 |
Phenomenology and proprioception | 606 |
Labans movement analysis | 608 |
Natural laws of movement | 610 |
Choreutics | 612 |
Dynamic laws of harmony | 613 |
Choreosophy | 614 |
Bibliography | 617 |
Oral Contributors | 641 |
| 651 | |
| 657 | |
| 705 | |
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Common terms and phrases
Ann Hutchinson Anna Markard artists Ashley Page audience Birmingham Royal Ballet Bob Lockyer body Bonnie Bird Centre for Movement choreographer choreologists Christopher Bruce classical ballet Clement Crisp Company class Contemporary Dance costume dance form dance material Dance Research Dance Theatre Journal dancers Doris Humphrey Dorothy Madden dynamic elements emotional energy gesture Gillian Lynne improvisation Interview jazz Judith Mackrell Laban Centre Laurie Booth Lea Anderson lighting London Louis Horst Lynn Robertson Bruce Merce Cunningham Monica Parker move Movement and Dance movement material notation Peggy van Praagh performance person Peter Brinson phrase physical Praagh and Peter Rehearsal relationship rhythm rhythmic Robert Cohan Robert Coleridge Roderyk Lange role Rosemary Brandt Rudolf Laban Sally Banes score Siobhan Davies sound space spatial stage Stephanie Jordan steps structure Stuart Hopps style teacher technique term Thea Barnes traditional Valerie Preston-Dunlop vocabulary Walter Sorell Yolanda Sonnabend