The Oxford Handbook of Dance and Theater

ISBN : 9780190698072

Nadine George-Graves
1056 ページ
170 x 244 mm
Oxford Handbooks

The Oxford Handbook of Dance and Theater collects a critical mass of border-crossing scholarship on the intersections of dance and theatre. Taking corporeality as an idea that unites the work of dance and theater scholars and artists, and embodiment as a negotiation of power dynamics with important stakes, these essays focus on the politics and poetics of the moving body in performance both on and off stage. Contemporary stage performances have sparked global interest in new experiments between dance and theater, and this volume situates this interest in its historical context by extensively investigating other such moments: from pagan mimes of late antiquity to early modern archives to Bolshevik Russia to post-Sandinista Nicaragua to Chinese opera on the international stage, to contemporary flash mobs and television dance contests. Ideologically, the essays investigate critical race theory, affect theory, cognitive science, historiography, dance dramaturgy, spatiality, gender, somatics, ritual, and biopolitics among other modes of inquiry. In terms of aesthetics, they examine many genres such as musical theater, contemporary dance, improvisation, experimental theater, television, African total theater, modern dance, new Indian dance theater aesthetics, philanthroproductions, Butoh, carnival, equestrian performance, tanztheater, Korean Talchum, Nazi Movement Choirs, Lindy Hop, Bomba, Caroline Masques, political demonstrations, and Hip Hop. The volume includes innovative essays from both young and seasoned scholars and scholar/practitioners who are working at the cutting edges of their fields. The handbook brings together essays that offer new insight into well-studied areas, challenge current knowledge, attend to neglected practices or moments in time, and that identify emergent themes. The overall result is a better understanding of the roles of dance and theater in the performative production of meaning.


01. Nadine George-Graves: Magnetic Fields: Too Dance for Theater, Too Theater for Dance

Section I: In Theory/In Practice
02. Ann Cooper Albright, Split Intimacies: Corporeality in Contemporary Theater and Dance
03. Anita Gonzalez, Negotiating Theatrics: Dialogues of the Working Man
04. VK Preston, How do I touch this text?: Or, The Interdisciplines Between: Dance and Theatre in Early Modern Archives
05. Ray Miller, Dance Dramaturgy
06. Vida L. Midgelow, Some Fleshy Thinking: Improvisation, experience, perception

Section II: Genus (part 1)
07. Maiya Murphy, Fleshing Out: Physical Theater, Postmodern Dance, and Som[e]agency
08. Stacy Wolf and Liza Gennaro, Dance in Musical Theatre
09. Colleen Dunagan, Dance and Theater: Looking at Television's Deployment of Theatricality Through Dance
10. Susan Leigh Foster, Why Not 'Improv Everywhere'?

Section III: Genus (part 2)
11. Royd Climenhaga, A Theater of Bodily Presence: Pina Bausch and Tanztheater Wuppertal
12. Praise Zenenga, The Total Theater Aesthetic Paradigm in African Theater
13. Jane Baldwin, Jean Gascon's Theatricalist Approach to Moliere and Shakespeare
14. Marianne McDonald, Dancing Drama: Ancient Greek Theatre in Modern Shoes and Shows

Section IV: Historiographical Presence and Absence
15. Ketu H. Katrak, The Post Natyam Collective: Innovating Indian Dance and Theatre, Abhinaya and Multimedia
16. Odai Johnson, Dancing for Dionysus in the Year of Years
17. Erika T. Lin, A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations
18. Esther Kim Lee, Designed Bodies: A Historiographical Study of Costume Design and Asian American Theatre
19. Ann Dils, Moving American History: An Examination of Works by Ken Burns and Bill T Jones

Section V: Place, Space and Landscape
20. Amy Strahler Holzapfel, Landscape Between Dance and Theatre: Meredith Monk, The Wooster Group, and The TEAM
21. Anne Flynn and Lisa Doolittle, Colonial Theatrics in Canada: Managing Blackfoot Dance During Western Expansionism
22. Sally Ann Ness, A Slip on the Cables: Touristic Rituals and Landscape Performance in Yosemite National Park
23. Michael Morris, Orientations as Materializations: the Love Art Laboratory's Eco-Sexual Blue Wedding to the Sea

Section VI: Affect, Somatics and Cognition
24. Petra Kuppers, Social Somatics and Interactive Performance: Touching Presence in Public
25. Amy Cook, Bodied Forth: A Cognitive Scientific Approach to Performance Analysis
26. Sondra Horton Fraleigh, Images of Love and Power: Butoh, Bausch, and Streb
27. Darcey Callison, Thoughts on the Discursive Imagery of Robert Lepage's Theatre

Section VII: Unruly Bodies
28. Patrick Anderson, A Slender Pivot: Empathy, Public Space, and the Choreographic Imperative
29. Halifu Osumare, Conjuring Magic as Survival: Hip-Hop Theater and Dance
30. Thomas Postlewait, 'Court Wonder': The Performances of the 'Queen's Dwarf' in the Reign of Charles I
31. Krista Miranda, 'What do Women Want, My God, What do They Want?': Mimeses, Fantasy, and Female Sexuality in Ann Liv Young's Michael

Section VIII: Biopolitics
32. Daphne P. Lei, Dance Your Opera, Mime Your Words: (Mis)translate the Chinese Body on the International Stage
33. E.J. Westlake, El Gueguence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing
34. Jade Power Sotomayor, From Soberao to Stage: Afro-Puerto Rican Bomba and the Speaking Body
35. William Givens. Lindy Hop, Community, and the Isolation of Appropriation

Section IX: National Scales and Mass Movements
36. Sandy Peterson, Russian Mass Spectacle and the Bolshevik Regime
37. Marie Percy, Movement Choirs and the Nazi Olympics
38. J.L. Murdoch, Talchum: Korea's masked folk dance-drama
39. Kim Marra, Circus Echoes: Dancing the Human-Equine Relationship Under the Millennial Big Top
40. Neal Hebert, Capitol City Camp: Gay Carnival and Capitalist Display

Section X: Infection
41. Miriam Felton-Dansky, Borrowed Crowds: The Living Theatre's Contagious Revolution
42. Marlis Schweitzer, The Salome Epidemic: Degeneracy, Disease, and Race Suicide
43. Virginia Anderson, Choreographing a Cause: Broadway Bares as Philathroproduction and Embodied Index to Changing Attitudes Toward HIV/AIDS
44. Michael Lueger, Dance and the Plague: Epidemic Choreomania and Artaud


Nadine George-Graves is Professor of Theater and Dance at the University of California, San Diego. She is the author of The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theater, 1900-1940 (2000) and Urban Bush Women: Twenty Years of Dance Theater, Community Engagement and Working It Out (2010) as well as numerous articles on American theater and dance.