Theatre Books: Online Versions & Excerpts

Part 1: Bodily... 1. Touch: Apparent, Real, & Absent: On Bodily Expression in Electronic Music Deniz Peters 2. How Things Fall Apart: Alteration of Body in Music & Dance Sondra Fraleigh 3. What Would Disembodied Music Even Be? Alva Noë 4. Embodying the Sonic Invisible: Sketching a Corporeal Ontology of Musical Interaction Susan Kozel 5. Seeing Sound, Hearing Movement: Multimodal Expression & Haptic Illusions in the Virtual Sonic Environment Jaana Parviainen Part 2: ...Expression in... 6. Ich und Du: On the Relation Between Body Image & Sound Structure in Contemporary Music Isabel Mundry 7. Isabel Mundry’s Ich und Du & the Elusiveness of Musical Meaning: Variations on Music, Body, Structure, Perception Christian Utz 8. Two Kinds of Physicality in Electronic & Traditional Music Kendall L. Walton 9. Objective Music: Traditions of Soundmaking without Human Expression Federico Celestini & Andreas Dorschel Part 3: ...Electronic Music 10. Embodied Generative Music Gerhard Eckel 11. Live Electronic Music or Living Electronic Music? Simon Emmerson 12. Relational Ontologies & Social Forms in Digital Music Georgina Born 13. JND: An Artistic Experiment in Bodily Experience as Research Chris Salter

1. Introduction: Enter ‘the Body’ 2. Performing the Body 3. Performing Gender: The ‘Body’ in Question 4. Ethnographies of the Body: Absent-presence 5. Older Bodies: Performing Age, Ageing and Invisibility

Part 1. What is an Integrative Performer?
Part 2. Centre, Presence and the Initiation of Task: Toward an Integrated Way of Doing
Part 3. The Integrated Centre
Part 4. An Active Architecture: Engaging with Text, from Centre with Awareness

"The book is arranged into four sections. The first provides a thorough overview of mixed methods procedures and research design, and summarizes their applicability to the movement sciences. The remaining sections then offer detailed case studies of mixed methods research in team and individual sports (analyzing hidden patterns of play and optimising technique); kinesics and dance (analyzing motor skills behaviour in childhood, and the complexity of motor responses in dance); and physical education (detecting interaction patterns in group situations, and optimizing non-verbal communication by teachers and sports coaches)."

Musical characterisation in HMS Pinafore and the Rocky horror show -- Encoding the voice : Show boat, Guys and dolls, and musical theatre post-1960 -- Integration and distance in musical theatre : the case of Sweeney Todd -- Layers of representation and the creation of irony : Aufstieg und Fall der Stadt Mahagonny, Merrily we roll along and The last 5 years -- Alternatives to linearity : Cabaret, Kiss of the spider woman and Assassins -- Illusions of realism in West Side story and actor-musician performances -- Experiencing live musical theatre performance : La Cage aux Folles and Priscilla, queen of the desert -- I've heard that song before box musical and entertainment in The Jersey boys, Rock of ages, Mamma mia and We will rock you

Opera, antiquity, and the Neapolitan Enlightenment in Paisiello's Socrate immaginario (1775) -- Naples, carnevale and the commedia per musica : Il convitato di pietra (1783) -- Giovanni Paisiello's Elfrida : operatic idol, martyr and symbol of nation -- Nationalism, cultural identity and the modern Neapolitan kingdom : Pietro Alessandro Guglielmi and Enea, e Lavinia -- Debora e Sisara and the rise of Lenten tragedy -- At the precipice of revolution : Piccinni's Gionata (1792) as drama and diplomacy -- The Neapolitan Ballet d'Action : Il ratto delle Sabine (1780) -- The Neapolitan Ballet d'Action and the art of experimentation

another online version
Part 1 Introducing Pedagogy 1. The role of pedagogy in culture 2. ‘Languaging’ pedagogy 3. Pedagogical work in human movement studies Part 2 Pedagogy for Physical Activity 4. Conceptualising a pedagogy of physical activity 5. Pedagogies for school PE & sport 6. pedagogies for club sport & elite performance 7. Other pedagogical players for physical activity Part 3 Pedagogy for the Body 8. Body in nature & culture 9. Considering the body in human movement studies 10. The cult of the body 11. The body in school PE & sport (including masculinities) 12. Other pedagogical players on the body Part 4 Pedagogy for Health 13. Human movement studies & the pedagogy for health 14. Pedagogy of health-based PE (HBPE) 15. Pedagogy & health promotion Part 5 Researching Pedagogy in Human Movement Studies 16. Pedagogy research in HMS 17. Making sense of the paradigm debates 18. Research on teaching PE 19. Research on PETE 20. Researching pedagogical work 21. Telling tales about pedagogy , & the pedagogy of telling tales Conclusion: Pedagogy as a foundational study of Human Movement Studies

1. Performing Memory in Art & Popular Culture: An Introduction Liedeke Plate & Anneke Smelik Part I: Staging Memory 2. Life or Theatre, Diary or Drama: On the Performance of Memory in the Visual Arts Lisa Saltzman 3. Multidirectional Memory & the Implicated Subject: On Sebald & Kentridge Michael Rothberg 4. Phantom Pains: Dramatising Flemish Collaboration with Nazism Klaas Tindemans Part II: Spectral Memories 5. Memories of Catastrophes Yet To Come: New Brutalism & Thing-Memory Ben Highmore 6. Haunted by Hunger: Images of Spectrality in Literary Recollections of the Great Irish Famine, 1850-1900 Marguérite Corporaal 7. Naming the Unnameable: (De)constructing 9/11’s Falling Man László Munteán Part III: Embodied Memories 8. If These Walls Could Walk: Architecture as a Deformative Scenography of the Past Kris Pint 9. Bodies With(out) Memories: Strategies of Re-enactment in Contemporary Dance Timmy de Laet Part IV: Mediating Memories 10. Punctuating National Histories: History Painting & Performativity Louise Wolthers 11. ‘Forget Me Not’: The Performance of Memory in Xena: Warrior Princess Wim Tigges 12. Textures of Time: A Becoming-Memory of History in Costume Film Elise Wortel & Anneke Smelik

"Pina Bausch s work has had tremendous impact across the spectrum of late twentieth-century performance practice, helping to redefine the possibilities of what both dance and theater can be. This edited collection presents a compendium of source material and contextual essays that examine Pina Bausch's history, practice and legacy, and the development of Tanztheater as a new form, with sections including: Dance and theatre roots and connections; Bausch s developmental process; The creation of Tanztheater; Bausch s reception; Critical perspectives. Interviews, reviews and major essays chart the evolution of Bausch's pioneering approach and explore this evocative new mode of performance."

another online version
"The book presents a series of reviews of the most up-to-date academic and professional literature on professional practice, exploring issues that all psychologists face when working with clients in sport and offers important evidence-based recommendations for best practice. Key topics covered include: -- models of practice and service delivery -- counselling and clinical intervention -- working with teams -- working with young performers -- providing life skills training -- managing career transitions -- working with special populations -- enhancing coach-athlete relations."

Dancing/Principles -- Material -- Habits -- Repetition -- Repetition -- Repetition -- Improvisation / Cut and paste / Choreography -- Form -- Exploration / Risk -- Subject / Inspiration / Stealing / Familiar movement / Choreography / Referencing other sources / Self-expression -- Contract / Performance space / Language / Choreography -- Breaking the rules -- Research / How and what? / Dramaturgy / Theory / Curiosity -- Interview / Unfinished business / Questions / Principles -- Financial limitations / Studios / Funding applications -- Preparation / Rehearsal schedule / Heaviness -- Collaboration / Audience -- Originality / Paradox -- Technique / Parrot on your shoulder / Authenticity / Daily practice / Dancing / Style / Fiddling -- Virtuosity -- Hoarding / Beginnings -- Endings -- Keeping it going / Pacing -- Dub reggae / Rate of change / Simple material / Desperation -- Stillness and silence / Fear of being boring -- Minimal and maximal -- Does it work? / Showings / Mentoring -- Other bodies / States -- Distracting the self / Paradox / Choreography / Performance / Electric guitars -- Predictable and unpredictable / Expectation -- Narrative / Ballet / Continuity -- Continuity / Sectional pieces / Material / Make six things / Choreography / Flow / Relation -- Relation / Solos, duos, trios, quartets / Ideas -- Relation / Time / Rhythm -- Time -- Abstract dance -- Counterpoint / Formal elements / Difference -- Scores / Studios / Improvisation -- Chance / Empty hands / Gamut of movements / Limitations / Laborious work / Philosophy -- Place or space? -- Audience / Facing the front / Confrontation / Humour / Failure -- Audience -- Performance / Principles -- The marketplace / Earning a living / Administrating the work / Commissions -- Music / Collaboration / Silence -- Text -- Lighting / Technicians / Collaboration / Costumes / Shoes or no shoes? / Set design / Nudity -- Titles -- Filming / History / Collaboration / Mirrors / Human-scale -- Hierarchies / Dancer or choreographer? / In it or out of it? / Who owns what? -- How can I simplify all of this? -- Forget all this

another online version
Chapter 1 – Choreography Inventories and Taxonomies Traveling and Disseminating Authorship, Narrative, and Technique Revealing and Testifying Making and Collaborating Chapter 2 - Kinesthesia Chorographies and Anatomies Trembling and Orienting Hardening and Picturing Encompassing and Expressing Synthesizing and Simulating Chapter 3 – Empathy Taken Unawares by Surprising Magnetisms Surveying the Scene, Nervously Domesticating and Othering Identifying and Emoting Resonating and Predicting Chapter 4 – Choreographing Empathy Grounding and Remembering Locating and Surveilling Engendering and Evaluating Downloading and Accessorizing Choreographing Empathy

Bk. I: Matriarchs, Mentoring & Passing on the Heritage Portrait of Catherine & Dorothie Littlefield, by Ann Barzel -- Renate Schottelius: Dance at the Bottom of the World in Argentina, by Stephanie Reinhart -- Making My Way in Dance, by Bella Lewitzky -- African American Rhythm Tappers, by Cheryl Willis -- Mentors of American Jazz Dance, by Judy Austin -- Body Wisdom, by Gay Cheney -- Women in Dance in Higher Education, by Linda Caruso Haviland -- Fire & Ice: Female Archetypes in American Modern Dance, by Sharon E. Friedler -- Sexual Politics, by Roger Copeland -- Feminist Theory & Contemporary Dance, by Ann Cooper Albright -- Bk. II: Physical Body, Theory & Practice & Using the Knowledge Standing in Awe, Sitting in Judgment, by Julie Sandler -- Dance has Many Ages, by Billie Kirpich -- Body Never Lies, by Carolyn McConnell -- Developmental Perspective, by Susan Lee -- Ballet as a Way of Knowing, by Marion Frank -- Governance & Vision, by Brenda Way -- Lion in the Laundromat, by Sally Hess -- Love & Power among the Critics, by Wendy Perron -- Sensuality & Sexuality as Dual Unity in African Dance, by Kariamu Welsh Asante -- Political Issues of Jawole Willa Jo Zollar, Artist/Activist, by Susan B. Glazer -- Seduction in Andalusian Flamenco, by Ninotchka Bennahum -- How Can the Brown, Female, Subaltern Feminist Speak?, by Ananya Chatterjea -- Sorceress, Imperial Concubine & Dancing Girl, by Yunyu Wang

This is a guide to today's most important dance-makers. Each entry includes a biographical section, a chronological list of works, a detailed bibliography and a critical essay, while the range of dance styles covered ranges from ballet to post-modern dance.
Richard Alston -- Lea Anderson -- Karole Armitage -- Jérôme Bel -- Matthew Bourne -- Ronald K. Brown -- Trisha Brown -- Christopher Bruce -- Jonathan Burrows -- Rosemary Butcher -- Lucinda Childs -- Michael Clark -- Merce Cunningham -- Siobhan Davies -- Javier De Frutos -- Anne Teresa De Keersmaeker -- Philippe Decouflé -- Mats Ek -- Garth Fagan -- Eliot Feld -- William Forsythe -- Itzik Galili -- Shobana Jeyasingh -- Bill T. Jones -- Akram Khan -- James Kudelka -- Jiří Kylián -- Lin Hwai-min -- Lar Lubovitch -- Vincent Mantsoe -- Maguy Marin -- Susan Marshall -- Wayne McGregor -- Bebe Miller -- Meredith Monk -- Mark Morris -- Graeme Murphy -- Ohad Naharin -- Lloyd Newson -- Henri Oguike -- Steve Paxton -- Pilobolus -- Angelin Preljocaj -- Garry Stewart -- Elizabeth Streb -- Paul Taylor -- Twyla Tharp -- Wim Vandekeybus -- Doug Varone -- Jawole Willa Jo Zollar

"Footnotes is choreographed, in a sense, as well as written. In Part I, called 'Context,' Alexander's voice is 'offstage,' in the wings, as she inscribes quotes by the choreographers, one by one, among a number of other poets and writers, including journalists. In Part II, her 'Exegetical Romp,' Alexander writes in her own voice--a 'solo,' a passionate discussion that reads, at times, like a prose poem. In Part III, 'Text,' the writings of the six choreographers quoted earlier in 'Context' is presented in full, with Alexander performing a kind of entr'acte, a commentary on each choreographer's essay."

Part I - 1920-1930: The Ground-Breaking Years The Actors -- Institutions -- The Duncan Line -- The Laban & Dalcroze Lines -- The Independent Ones -- The Educators -- The Orientals -- Part II - 1930-1939: The Tilling Years The Actors -- Institutions -- The Laban & Wigman Lines -- The Dalcroze & Hellerau-Laxenburg Line -- Defectors from Classical Dance -- The Independent Ones -- The Educators -- Part III - 1945-1960: The Sowing Years The Actors -- Institutions -- French Dancers of European Descent -- The Grafts -- In the Line of Janine Solane -- The Independent Ones -- The Educators -- From Drama & Mime -- In the Duncan Line -- Part IV - 1960-1970: The Flowering Years The Actors -- Institutions -- French Dancers, Nomadic & Sedentary -- The Scholars -- The Educators -- The Graft from Latin America -- Jazz & African Dance: Another Turning Towards Roots

1. ‘Watching the Frankfurt Ballet, 1988-2004’, Roslyn Sulcas 2. ‘Of Monsters and Puppets: After the "Robert Scott Complex"’, Gerald Siegmund 3. ‘Splintered Encounters: The Critical Reception to William Forsythe in the United States, 1979-1989’, Mark Franko 4. ‘Njinsky’s Heir: A Classical Company Leads Modern Dance’, Senta Driver 5. ‘Timbral Architectures, Aurality’s Force: Sound and Music’, Chris Salter 6. ‘Dancing Music: The Intermodality of The Forsythe Company. An Auditory Turn‘, Freya Vass-Rhee 7. ‘Choreographic Objects’, William Forsythe 8. ‘Decreation: Fragmentation and Continuity’, Dana Caspersen 9. ‘Inside the Knot that Two Bodies Make’, Steven Spier 10. ‘Aberrations of Gravity’, Heidi Gilpin 11. ‘The Space of Memory: The Ballets’, Gerald Siegmund 12. ‘Choreographic Thinking and Amateur Bodies’, Steven Spier

"This edited collection charts the development of contemporary dance in Central and Eastern Europe since the literal and symbolic revolutions of 1989. Central Europe and the former Soviet Bloc countries were a major presence in dance - particularly theatrical dance - throughout the twentieth century. With the fragmentation of traditional structures in the final decade of the century came a range of aesthetic and ideological responses from dance practitioners. These ranged from attempts to reform classical ballet to struggles for autonomy from the state, and the nature of each was influenced by a set of contexts and circumstances particular to each country. Each contribution covers the strategies of a different country's dance practitioners, using a similar structure in order to invite comparisons. In general, they address: Historical context, showing the roots of contemporary dance forms The socio-political climates that influenced emerging companies and forms The relationships between aesthetic exploration and institutional patronage The practitioners who were central to the development of dance in each country A diagnosis of the current state of the art and how it has come about"

Part I: Basic Concepts of Dance/Movement Therapy. Chaiklin, We Dance from the Moment Our Feet Touch the Earth. Wengrower, The Creative-artistic Process in Dance/Movement Therapy. Fischman, Therapeutic Relationships & Kinesthetic Empathy. Chodorow, Dance Therapy: Motion and Emotion. Part II: The Path from Theory to Practice. Capello, BASCICS: An Intra/Interactional Model of Dance/Movement Therapy with the Adult Psychiatric Patient. Dascal, Body, Style, & Psychotherapy. Kleinman, Becoming Whole Again: Dance/Movement Therapy for Those Who Suffer from Eating Disorders. Dulicai, Family Dance/Movement Therapy: A Systems Model. Tortora, Dance/Movement Psychotherapy in Early Childhood Treatment. Hill, Dancing with Hope: Dance Therapy with People with Dementia. Berrol, Dance/Movement Therapy with Acquired Brain Trauma Rehabilitation. Part III: Aspects Integral to the Practice of Dance/Movement Therapy. Queyquep White, Laban's Movement Theories: A Dance/Movement Therapist's Perspective. Loman, Sossin, Applying the Kestenberg Movement Profile in Dance/Movement Therapy: An Introduction. Shahar-Levy, Emotorics: A Psychomotor Model for the Analysis & Interpretation of Emotive Motor Behavior. Chang, Cultural Consciousness & the Global Context of Dance/Movement Therapy. Hervey, Encouraging Research in Dance/Movement Therapy

For Instance, a Clown -- Emigration -- An Explanation -- How Sweet It Is -- First Memories -- Palucca -- So Much Luck (I) -- The Disgruntled -- Up and Out -- The Peppermill Theater -- The Liberated Theater -- The Dancing Clown -- The Fortune Teller -- Off to America -- A Propos Aging -- So Much Luck (II) -- On Tour: Road Signs -- To The Rescue -- A New World -- The Turnabout Theater -- My Film Career -- Cats I've Met -- The Dancing Hausfrau -- Lotte Goslar's Circus Scene -- TV -- Magic -- Not So Magic -- A New Experience -- Marilyn -- A Large Landscape -- What's So Funny? -- Solos -- The Company -- Letters -- List of Works

another online version
"Rudolf Laban (1879 – 1958) was a pioneer in dance and movement, who found an extraordinary range of application for his ideas; from industry to drama, education and therapy.　 Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements. The Laban Sourcebook offers a comprehensive account of Laban’s writings. It includes extracts from his five books in English and from his four works in German, written in the 1920s and translated here for the first time."