Brief Episodes Of A Staatsballett Life Is A Story Storyone

"Toi, toi, toi, Terry. Worst case scenario is you make a complete fool of yourself." Through diary entries, reviews, letters, and internal monologues, Brief episodes of a Staatsballett explores the relationships, ambitions, and struggles of dancers, choreographers, and ballet masters as they navigate the complexities of their daily lives. Set in an unspecified city, this fictional account captures both the highs and lows of life in a dance company. Its encyclopedic form serves as an authentic window into this often unfamiliar world.

Musicians who work professionally with ballet and dance companies sometimes wonder if they haven’t entered a foreign country—a place where the language and customs seem so utterly familiar and so bafflingly strange at the same. To someone without a dance background, phrases and terms--boy’s variation, pas d’action, apothéose—simply don’t fit their standard musical vocabulary. Even a familiar term like adagio means something quite different in the world of dance. Like any working professional, those conductors, composers, rehearsal pianists, instrumentalists and even music librarians working with professional ballet and dance companies must learn what dance professionals talk about when they talk about music. In Ballet Music: A Handbook Matthew Naughtin provides a practical guide for the professional musician who works with ballet companies, whether as a full-time staff member or as an independent contractor. In this comprehensive work, he addresses the daily routine of the modern ballet company, outlines the respective roles of the conductor, company pianist and music librarian and their necessary collaboration with choreographers and ballet masters, and examines the complete process of putting a dance performance on stage, from selection or existing music to commissioning original scores to staging the final production. Because ballet companies routinely revise the great ballets to fit the needs of their staff and stage, audience and orchestra, ballet repertoire is a tangled web for the uninitiated. At the core of Ballet Music: A Handbook lies an extensive listing of classic ballets in the standard repertoire, with information on their history, versions, revisions, instrumentation, score publishers and other sources for tracking down both the original music and subsequent musical additions and adaptations. Ballet Music: A Handbook is an invaluable resource for conductors, pianists and music librarians as well as any student, scholar or fan of the ballet interested in the complex machinery that works backstage before the curtain goes up.

In Corporeal Politics, leading international scholars investigate the development of dance as a deeply meaningful and complex cultural practice across time, placing special focus on the intertwining of East Asia dance and politics and the role of dance as a medium of transcultural interaction and communication across borders. Countering common narratives of dance history that emphasize the US and Europe as centers of origin and innovation, the expansive creativity of dance artists in East Asia asserts its importance as a site of critical theorization and reflection on global artistic developments in the performing arts. Through the lens of “corporeal politics”—the close attention to bodily acts in specific cultural contexts—each study in this book challenges existing dance and theater histories to re-investigate the performer's role in devising the politics and aesthetics of their performance, as well as the multidimensional impact of their lives and artistic works. Corporeal Politics addresses a wide range of performance styles and genres, including dances produced for the concert stage, as well as those presented in popular entertainments, private performance spaces, and street protests.

The author's primary object of investigation in this text is not the Caravaggio, but rather the issue of temporality in art. She analyzes the productives relationship between Caravaggio and a number of late-20th century artists who "quote" the baroque master in their own works.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.

This book is a study of knowledge production about China and the Chinese civilization and as such it is a critique of the ways in which knowledge about the Chinese civilization is produced. It is not primarily intended as one that sets out to expose biases and prejudices against China, correct errors and misrepresentations of Chinese civilization, and dispute misperceptions and misinterpretations of Chinese materials, although all these issues do occur in the book. The overall objective is to get behind and beneath all these problems in order to uncover the motivations, mental frameworks, attitudes, and reasons for the abovementioned phenomena, which the author terms "Sinologism".

Offers a glimpse into the turbulent life of Texas music legend Blaze Foley (1949-1989). This book is suitable for Blaze Foley and Texas music fans, as well as romantics of different ages.

Herbert Howells (1892-1983) was a prodigiously gifted musician and the favourite student of the notoriously hard-to-please Sir Charles Villiers Stanford. Throughout his long life, he was one of the country's most prominent composers, writing extensively in all genres except the symphony and opera. Yet today he is known mostly for his church music, and there is as yet relatively little serious study of his work. This book is the first large-scale study of Howells's music, affording both detailed consideration of individual works and a broad survey of general characteristics and issues. Its coverage is wide-ranging, addressing all aspects of the composer's prolific output and probing many of the issues that it raises. The essays are gathered in five sections: Howells the Stylist examines one of the most striking aspect of the composer's music, its strongly characterised personal voice; Howells the Vocal Composer addresses both his well-known contribution to church music and his less familiar, but also important, contribution to the genre of solo song; Howells the Instrumental Composer shows that he was no less accomplished for his work in genres without words, for which, in fact, he first made his name; Howells the Modern considers the composer's rather overlooked contribution to the development of a modern voice for British music; and Howells in Mourning explores the important impact of his son's death on his life and work. The composer that emerges from these studies is a complex figure: technically fluent but prone to revision and self-doubt; innovative but also conservative; a composer with an improvisational sense of flow who had a firm grasp of musical form; an exponent of British musical style who owed as much to continental influence as to his national heritage. This volume, comprising a collection of outstanding essays by established writers and emergent scholars, opens up the range of Howells's achievement to a wider audience, both professional and amateur. PHILLIP COOKE is Lecturer in Composition at the University of Aberdeen. DAVID MAW is Tutor and Research Fellow in Music at Oriel College, Oxford, holding Lectureships also at Christ Church, The Queen's and Trinity Colleges. CONTRIBUTORS: Byron Adams, Paul Andrews, Graham Barber, Jonathan Clinch, Phillip A. Cooke, Jeremy Dibble, Lewis Foreman, Fabian Huss, David Maw, Diane Nolan Cooke, Lionel Pike, Paul Spicer, Jonathan White. Foreword by John Rutter.