The Judson Dance Theatre explores the work and legacy of one of the most influential of all dance companies; which first performed at the Judson Memorial Church in downtown Manhattan in the early 1960s. There; a group of choreographers and dancers--including future well-known artists Twyla Tharp; Carolee Schneemann; Robert Morris; Trisha Brown; Yvonne Rainier; and others--created what came to be known as " postmodern dance." Taking their cues from the experiments of Merce Cunningham; they took movements from everyday life--walking; running; gymnastics--to create dances that influenced not only future dance work but also minimalism in music and art; as well as the wedding of dance and speech in solo performance pieces.Judsons legacy has been explored primarily in the work of dance critic Sally Banes; in a book published in the 1980s. Although the dancers from the so-called "Judson School" continue to perform and create new works--and their influence continues to grow from the US to Europe and beyond--there has not been a book-length study in the last two decades that discusses this work in a broader context of cultural trends. Burt is a highly respected dance critic and historian who brings a unique new vision to his study of the Judson dancers and their work which will undoubtedly influence the discussion of these seminal figures for decades to come"Performative Traces: Judson" "Dance Theatre and Its Legacy "combines history; performance analysis; theory; and criticism to give a fresh view of the work of this seminal group of dancers. It will appeal to students of dance history; theory; and practice; as well as all interested in the avant-grade arts and performance practice in the 20th century.
#2260597 in eBooks 2006-09-27 2006-09-27File Name: B000OI13IG
Review
3 of 4 people found the following review helpful. More useful to the art historian than the modern CeltophileBy Hallstatt PrinceThis is a beautiful volume that is well illustrated. However the topic of how iron age people (especially the Celts) used artwork is no revelation to those of us who have kept current in modern Celt studies. That art objects for the Celts had multiple uses and lived multiple lives (the main thesis to this text) is nothing particularly new. Some of us are in touch with archeologists of active Celtic sites and when archeologists discover almost all of the bronze votive horses found have one broken leg and it is broken in a similar way you get the idea that this was a manipulation done with a purpose.Many people who study the ancient Celts may find much in this book redundant. All the same a good book.