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Re-forming the lines: A critical an...

Nunes Jensen, Jill.

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Re-forming the lines: A critical analysis of Alonzo King's LINES Ballet (California).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Re-forming the lines: A critical analysis of Alonzo King's LINES Ballet (California)./
Author:	Nunes Jensen, Jill.
Description:	335 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3495.
Contained By:	Dissertation Abstracts International66-10A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3191678
ISBN:	9780542346170

Re-forming the lines: A critical analysis of Alonzo King's LINES Ballet (California).
Nunes Jensen, Jill.

Re-forming the lines: A critical analysis of Alonzo King's LINES Ballet (California). - 335 p.

Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3495.

Thesis (Ph.D.)--University of California, Riverside, 2005.

This dissertation locates Alonzo King's LINES Ballet in the context of dance historiography. Over the course of four chapters and intermittent Through LINE sections, the work examines how LINES' ballets comments upon race, gender and sexuality. This project not only serves as the first history of this company, but it also situates LINES in relation to others both regionally and nationally. Numerous interviews with King and the dancers serve as the basis for the manuscript; their testimonies are supplemented with video and performance analysis, rehearsal observation, statistical data, and personal knowledge gained while participating in classes at the San Francisco Dance Center over a two and a half year period. Chapter One, LINES OF LINEAGE , chronicles the company's development over time, King's role as LINES' guiding force, the administrative and financial tribulations, and the present state of the organization. In this chapter, the dancers, rehearsal process and style that are unique to this organization are examined. In Chapter Two, BREAKING THE LINES: Refusing Ballet for Ballet's Sake, several pieces are read in order to highlight this company's particular movement aesthetic. Chapter Three, TRAVERSING THE LINES: Re-Placing Gender and Sexuality, looks specifically at gender and sexuality in King's choreography for LINES---works that have often revised the role of the female ballerina by allowing her a sense of agency that is typically reserved for her male counterpart. The fourth chapter, INTERSECTIONS: Moving Toward a Flexible Understanding of Race, posits the LINES aesthetic as one that infuses classical ballet vocabulary with Africanist approaches towards community, process, individuality and spirituality. To close, an Epilogue entitled BALLET'S RITE OF PASSAGE positions King's 2004 Rite of Spring as linkage between balletic tradition and the future of the genre. A bibliographic listing of interviewees, as well as an appendix that provides dates and locations of all LINES premieres follow this. Six photographs are interspersed throughout the work as means of introducing the company and illustrating the LINES style.

ISBN: 9780542346170Subjects--Topical Terms:

610547
Dance.

Re-forming the lines: A critical analysis of Alonzo King's LINES Ballet (California).
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245 1 0 $a Re-forming the lines: A critical analysis of Alonzo King's LINES Ballet (California).
300 $a 335 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3495.
500 $a Co-Chairpersons: Susan Leigh Foster; Jacqueline Shea Murphy.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2005.
520 $a This dissertation locates Alonzo King's LINES Ballet in the context of dance historiography. Over the course of four chapters and intermittent Through LINE sections, the work examines how LINES' ballets comments upon race, gender and sexuality. This project not only serves as the first history of this company, but it also situates LINES in relation to others both regionally and nationally. Numerous interviews with King and the dancers serve as the basis for the manuscript; their testimonies are supplemented with video and performance analysis, rehearsal observation, statistical data, and personal knowledge gained while participating in classes at the San Francisco Dance Center over a two and a half year period. Chapter One, LINES OF LINEAGE , chronicles the company's development over time, King's role as LINES' guiding force, the administrative and financial tribulations, and the present state of the organization. In this chapter, the dancers, rehearsal process and style that are unique to this organization are examined. In Chapter Two, BREAKING THE LINES: Refusing Ballet for Ballet's Sake, several pieces are read in order to highlight this company's particular movement aesthetic. Chapter Three, TRAVERSING THE LINES: Re-Placing Gender and Sexuality, looks specifically at gender and sexuality in King's choreography for LINES---works that have often revised the role of the female ballerina by allowing her a sense of agency that is typically reserved for her male counterpart. The fourth chapter, INTERSECTIONS: Moving Toward a Flexible Understanding of Race, posits the LINES aesthetic as one that infuses classical ballet vocabulary with Africanist approaches towards community, process, individuality and spirituality. To close, an Epilogue entitled BALLET'S RITE OF PASSAGE positions King's 2004 Rite of Spring as linkage between balletic tradition and the future of the genre. A bibliographic listing of interviewees, as well as an appendix that provides dates and locations of all LINES premieres follow this. Six photographs are interspersed throughout the work as means of introducing the company and illustrating the LINES style.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3191678