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The development of a genre: Pina Bau...

Ni, Shu-Lan Miranda.

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The development of a genre: Pina Bausch and late twentieth-century dance theater (Germany, Reinhild Hoffmann, Susanne Linke, Anne Teresa De Keersmaeker, Martha Clarke).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The development of a genre: Pina Bausch and late twentieth-century dance theater (Germany, Reinhild Hoffmann, Susanne Linke, Anne Teresa De Keersmaeker, Martha Clarke)./
作者:	Ni, Shu-Lan Miranda.
面頁冊數:	301 p.
附註:	Co-Chairpersons: Jonathan E. Marks; Daniel O. Nathan.
Contained By:	Dissertation Abstracts International63-02A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3043219
ISBN:	0493570179

The development of a genre: Pina Bausch and late twentieth-century dance theater (Germany, Reinhild Hoffmann, Susanne Linke, Anne Teresa De Keersmaeker, Martha Clarke).
Ni, Shu-Lan Miranda.

The development of a genre: Pina Bausch and late twentieth-century dance theater (Germany, Reinhild Hoffmann, Susanne Linke, Anne Teresa De Keersmaeker, Martha Clarke). - 301 p.

Co-Chairpersons: Jonathan E. Marks; Daniel O. Nathan.

Thesis (Ph.D.)--Texas Tech University, 2002.

During the nineteen eighties, a type of performing art called dance theater started in Germany and gradually spread out its influence on other countries in Europe, America, and Asia. Ever since, dance theater has aroused much controversy in terms of categorizing this artistic genre, a form that merges dance and theatrical elements. This study will evaluate all the pros and cons and find a way to define dance theater by using interdisciplinary approaches that combine contemporary aesthetics, and theories of performing arts.

ISBN: 0493570179Subjects--Topical Terms:

610547
Dance.

The development of a genre: Pina Bausch and late twentieth-century dance theater (Germany, Reinhild Hoffmann, Susanne Linke, Anne Teresa De Keersmaeker, Martha Clarke).
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245 1 0 $a The development of a genre: Pina Bausch and late twentieth-century dance theater (Germany, Reinhild Hoffmann, Susanne Linke, Anne Teresa De Keersmaeker, Martha Clarke).
300 $a 301 p.
500 $a Co-Chairpersons: Jonathan E. Marks; Daniel O. Nathan.
500 $a Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0424.
502 $a Thesis (Ph.D.)--Texas Tech University, 2002.
520 $a During the nineteen eighties, a type of performing art called dance theater started in Germany and gradually spread out its influence on other countries in Europe, America, and Asia. Ever since, dance theater has aroused much controversy in terms of categorizing this artistic genre, a form that merges dance and theatrical elements. This study will evaluate all the pros and cons and find a way to define dance theater by using interdisciplinary approaches that combine contemporary aesthetics, and theories of performing arts.
520 $a Chapter one introduces the importance of categorization by using contemporary philosopher Kendall Walton's categorization criteria. Walton's concept will serve as an umbrella theory to give focus on the dance and theater theories in terms of what standard properties are used to define dance and theater. Chapter two traces theater theories from Aristotle's <italic>Poetics</italic> to the present. The survey will be a reference point to judge whether contemporary dance theater does maintain some standard properties of theater. Chapter three examines the concept of dance through theories about ballet, modern dance, and postmodern dance. The survey will compare dance theater in an historical context and judge if it does pertain to some standard properties of dance. Chapter four has two focuses. First, it traces the beginning of German dance theater from the twenties until now. Second, it analyzes the properties of Pina Bausch's dance theater to examine if it does include standard properties from both genres. In chapter five, the properties of Pina Bausch's dance theater will be used as a paradigm to judge other dance theaters by the following directors/choreographers: Reinhild Hoffmann, Susanne Linke, Anne Teresa De Keersmaeker, and Martha Clarke. This comparison aims to clarify whether those dance theaters not only contain properties of dance and theater, but also unique properties distinct from other performing arts, and should therefore be categorized as dance theater in their own right.
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