000			05868cam a2200433ui 4500
001			ocm1122910954
003			OCoLC
005			20220726091024.0
008			190815s2020 nyua b 001 0 eng
010			_a 2019035560
020			_a0190059753 _qhardcover
020			_a0190059761 _qpaperback
020			_a9780190059750 _qhardcover
020			_a9780190059767 _qpaperback
020			_z9780190059774 _qelectronic book
020			_z9780190059781 _qelectronic book
035			_a(Sirsi) a577920
040			_aDLC _beng _erda _cDLC _dOCLCO _dOCLCF _dUKMGB _dYDX _dOCLCO _dBDF _dIL4J6 _dMiTN
042			_apcc
050	0	0	_aGV1588 _b.D35 2020
082	0	0	_a792.8 _223
100	1		_aTilden Russell:
245	0	0	_aDance theory : _bsource readings from two millennia of Western dance : a critical anthology _by Tilden Russell.
246	2	0	_aSource readings from 2 millennia of Western dance.
264		1	_aNew York, NY : _bOxford University Press, _c[2020]
300			_axxvi, 294 pages : _billustrations (black and white) ; _c24 cm.
336			_atext _btxt _2rdacontent.
337			_aunmediated _bn _2rdamedia.
338			_avolume _bnc _2rdacarrier.
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction: Dance theory as a problem in dance history -- Chapter 1. Dance theory to ca. 1300 -- Chapter 2. The Renaissance -- Chapter 3. The seventeenth century -- Chapter 4. The early Enlightenment: German and English dance theory, 1703-1721 -- Chapter 5. Dance theory from Feuillet to the Encyclopédie -- Chapter 6. Divergent paths: Noverre -- Chapter 7. The nineteenth century and Fin de siècle: Practice ascendent -- Chapter 8. The twentieth century: Modernist theory -- Chapter 9. Postmodern dance theory and anti-theory.
520			_a"This book began in 2014 as an introduction to the book I was then writing about a small group of dance theorists-five Germans and an Englishman-and their treatises published between 1703 and 1721: obviously a very narrow conspectus in subject and years. The aim of the introduction was to place these largely ignored writers (epecially the Germans) in a broad historical context that would demonstrate how essential and pivotal they were. As I read further in dance theory I found more and more sources on the subject that turned out to be far more interesting and complex than I had originally imagined. The introduction kept getting longer, until it became an albatross on the book's actual text, not only because of its ever-increasing length, but more gravely, because I had assumed it would trace a teleological ascent in dance theory culminating in my authors and their works, followed by a degenerative aftermath. This tendentious viewpoint threatened not only to deter readers from a sympathetic reading of the book as a whole; it turned out, the more I read and learned, to be simply wrong. The history of dance theory, as I gradually came to realize, is too interesting and important to be exploited for spurious purposes. Also, it's an untold story. Dance historians are familiar with many or most of the authors and titles, but not what they have to say about dance theory. That's the part usually at the beginning of books that is skimmed through in order to get to the more urgent preoccupations of historical dancers and dance historians: performance practice, reconstruction, technique, and repertoire. Viewed superficially, moreover, it can seem as if the same self-evident and obligatory themes keep getting repeated like clichés in these sections under the general rubric of theory: a definition of dance and/or dance theory, or at least a list of their basic components; the relation of dance to the other arts and other areas of knowledge; dance's origin and history; and its utility (i.e., health, social conduct and success, recreation). Finally, and contrary to what I had long believed, dance theory is not dead. In fact, it is thriving in the twenty-first century. Yes, I was fully aware that something called dance theory was being copiously written and talked about, and that "theory" and "theorizing" and "theorist" had become wildly ubiquitous in dance scholars' lexicon, but I believed that what they were talking about was no genuine dance theory, had no kinship with what was historically accepted as dance theory, and did not meet the criteria of what a theory should be. I was convinced that what I considered dance theory had been swept away in the iconoclastic, irreverent, and nonconformist spirit of postmodernism. Luckily, early readers tactfully convinced me to address my folly. As I wrote, I learned. Writing this book has already served as a textbook in my own learning experience. There are some excellent compilations of readings in dance history. The common format is to devote each chapter to a historical period, with an introductory essay followed by relevant readings. The number of readings tends to increase as history marches on, peaking in the nineteenth century. A sampling of such compilations follows. Each book differs from this one in different ways, but in general, and by intent, none of them does everything this book sets out to do: treat theory in depth and as a discrete topic; treat theatrical and social dance equally; include readings dating from classical Antiquity to the twenty-first century; and link the readings, through brief introductory essays, from end to end by a narrative thread based on salient topics as seen from evolving perspectives"-- _cProvided by publisher.
650		0	_aChoreography _xHistory.
650		0	_aDance notation _xHistory.
650		0	_aDance _xPhilosophy _xHistory.
700	1		_aRussell, Tilden A.,
710	2		_aOxford University Press.
776	0	8	_iOnline version: _tDance theory _dNew York : Oxford University Press, 2020. _z9780190059774 _w(DLC) 2019035561.
999			_c518165 _d518165