Embodied Texts: Symbolist Playwright-dancer Collaborations
Rodopi, 2007 - 346 páginas
Embodied Texts: Symbolist Playwright-Dancer Collaborations explores the dynamic relationship between Symbolist theatre and early modern dance across Europe from the 1890s through the 1930s. Gabriele D'Annunzio's projects with Ida Rubinstein; Hugo von Hofmannsthal's pantomimes for Grete Wiesenthal; W. B. Yeats's work with Michio Ito and Ninette de Valois; and Paul Claudel's collaborations with Jean Börlin and the Ballets Suédois are studied in depth to shed new light on an evolving dance-theatre form within Symbolist culture. Buoyed by the era's heightened interest in the expressive qualities of the body, these playwrights were highly invested in the authority of language, yet were drawn to the capacity of dance to evoke spiritual or psychological states which words could not completely capture. In its belief of fundamental correspondences among the arts, Symbolism encouraged experimentation across disciplines, and this study traces interconnections among many of its significant figures including Max Reinhardt, Claude Debussy, Gertrud Eysoldt, Edward Gordon Craig, Bronislava Nijinksa, Isadora Duncan, Jaques Dalcroze, Darius Milhaud, Vsevolod Meyerhold, Mariano Fortuny, Terence Gray, George Antheil, Eleonora Duse, and Michel Fokine.
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Abbey actors artistic audience Ballets Russes Ballets Suédois beautiful Bengt Häger body characters Châtelet choreography collaboration costume created Cuchulain dance plays Darius Milhaud Debussy désir drama Dulac Duse Emer emotion experience expression Ezra Pound Fiedler Fighting the Waves Fokine fremde Mädchen Gabriele D’Annunzio gesture Grete Wiesenthal Grete Wiesenthal—Die Schönheit Hawk Hawk’s Helen Caldwell Hellerau Hofmannsthal’s Hugo von Hofmannsthal Ibid Ida Rubinstein ideas Irish Isadora Duncan Ito’s Japanese Jean Börlin Körpers im Tanz L’Homme Léon Bakst Leonhard London Lynn Garafola Mallarmé Martyre de Saint masks Michio Ito modern move movement musicians Nijinsky Ninette de Valois opera pantomime Paul Claudel photograph piece Plays for Dancers playwrights poetry production quoted rehearsal rhythm rhythmic role Saint Sébastien 1911 Salomé Schönheit der Sprache Sprache des Körpers stage style stylized Swedish Ballet symbolic symbolist Théâtre theatrical translated University Press verse visual W. B. Yeats Wiesenthal’s wrote Yeats’s York Public Library
Página 157 - Art bids us touch and taste and hear and see the world, and shrinks from what Blake calls mathematic form, from every abstract thing, from all that is of the brain only, from all that is not a fountain jetting from the entire hopes, memories, and sensations of the body.
Página 215 - I want to create for myself an unpopular theatre and an audience like a secret society where admission is by favour and never to many.
Página 152 - The purpose of rhythm, it has always seemed to me, is to prolong the moment of contemplation, the moment when we are both asleep and awake, which is the one moment of creation, by hushing us with an alluring monotony, while it holds us waking by its variety, to keep us in that state of perhaps real trance, in which the mind liberated from the pressure of the will is unfolded in symbols.
Página 190 - When I wrote in blank verse I was dissatisfied; my vaguely mediaeval Countess Cathleen fitted the measure, but our Heroic Age went better, or so I fancied, in the ballad metre of The Green Helmet.
Página 6 - I mean that the ballerina is not a girl dancing; that considering the juxtaposition of those group motifs, she is not a girl, but rather a metaphor which symbolizes some elemental aspect of earthly form: sword, cup, flower, etc., and that she does not dance but rather with miraculous lunges and abbreviations, writing with her body, she suggests things which the written work could express only in several paragraphs of dialogue or descriptive prose.
Página 7 - To name an object is to take away three-fourths of the enjoyment of the poem, which consists in the happiness of guessing little by little; to suggest it, that is the dream.
Página 158 - They, if told to pick up something, show by the movement of their body that their idea of doing it is more vivid than the doing of it. One gets an impression of thinness in the nature. I am watching Miss V to find out if her inanimate movements when on the stage come from lack of experience or if she has them in life. I watched her sinking into a chair the other day to see if her body felt the size and shape of the chair before she reached it. If her body does not so feel she will never be able to...
Página 154 - I understood these things in which the actors kept still enough to give poetical writing its full effect upon the stage. I had imagined such acting, though I had not seen it, and had once asked a dramatic company to let me rehearse them in barrels that they might forget gesture and have their minds free to think of speech for a while. The barrels, I thought, might be on castors, so that I could shove them about with a pole when the action required it.