Docentes

Critério de Avaliação

Presence in all classes. Final paper, 10 pages on a theme to be discussed on the first day of class.

Bibliografia

ABRIGHT, A.C. Modern Gestures: Abraham Wlkowitz draws Isadora Duncan Dancing. Middletown, Wesleyan University Press, 2010. ALBRIGHT, A.N. Traces of Light: absence and presence in the work of Loie Fuller. Middletown, Wesleyan University Press,2007. ANDERSON, J. Ballet and Modern Dance: a concise history. 2 Ed. Highstown: Princeton Book Company, 1992. BANES,S. (ed.) Reinventing Dance in the 1960s, everything was possible. Madison: University of Wisconsin Press, 2003. BANES, S. Democracy’s Body: Judson Dance theater, 1962-1964. Durham: Duke University Press, 1993. BURT, R. Judson Dance theater: performative Arts. New York, Routledge, 2006. COHEN, S.J. The Modern Dance, seven statements of belief. Middletown: Wesleyan University Press, 1967. COPELAND,R. Merce Cunningham: the modernizing of Modern Dance. New York: Routledge, 2004. GERE,D. How to Make Dances in an Epidemic: tracking choreography in the age of Aids. Madison: University of Wisconsin Press, 2004. GOLDBERG,R. Performance Art. Revised and Expanded Edition. London: Thames and Hudson, 2005. HUMPHREY, D.; COHEN, S.J. Doris Humphrey: An artist first. Middletown: Wesleyan University Press, 1972. JOWITT, D. Time and the Dancing Image. Berkeley: University of California Press, 1988. MARTIN,J. The Modern Dance. New York: Dance Horizons, 1972. MARTIN,R. Critical Moves: dance studies in theory and politics. Durham: Duke University Press, 1998. MORRIS,G. A game for Dancers: performing modernism in the post war years, 1945-1960. Middletown, Wesleyan University Press, 2006. SCHECHNER, R. Performance Studies: an introduction. 2 Ed. London: Routledge, 2007. WOOD,C. Yvonne Rainer, The Mind is a Muscle. London: Afterall, 2007.

Conteúdo

The nature of the dance includes its state of impermanence, but what do bodies convey as marks of their past. How do we gauge the transformation of the body in dance, evidence of training techniques, experimentation and artistic experiences, all intertwined within the context and thinking of an era? How do practices in dance and dance theories organize and how do they allow us to identify characteristics of each generation? The principle purpose of this course is to survey and examine the ways in which the dancer's body hás developed and changed, beginning in the 1900s and up to present day theories and concepts in contemporary dance. Drawing on studies in dance history and dance theory as well as practical experience in various dance techniques the course will present a comparative study, examining codes and characteristics of specific artists and their relationship with their bodies, vocabularies and dance languages, strategies and philosophies in relation to their works, how they express their ideas, questions of identity and temporal ontology. This course will offer both practical and theoretical approaches to understanding the artist and his transformation by looking at context and temporal realities. The purpose being to develop a critical and investigative outlook of formative practices and their artistic reverberations.

Metodologia

Practical and Theoretical. All classes conducted in English.

Observação

The course and reading material will be entirely in English.