東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Poetics and Perception: Making Sense...

Stanich, Veronica Dittman.

FindBook

Google Book

Amazon

博客來

Poetics and Perception: Making Sense of Postmodern Dance.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Poetics and Perception: Making Sense of Postmodern Dance./
作者:	Stanich, Veronica Dittman.
面頁冊數:	293 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
Contained By:	Dissertation Abstracts International76-05A(E).
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3672328
ISBN:	9781321496536

Poetics and Perception: Making Sense of Postmodern Dance.
Stanich, Veronica Dittman.

Poetics and Perception: Making Sense of Postmodern Dance. - 293 p.

Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.

Thesis (Ph.D.)--The Ohio State University, 2014.

Postmodern dance demonstrates characteristics and choreographic conventions that differ radically from those of the commercial theatrical dance that pervades our culture. In this study, I address the question of how people---dancers and choreographers, but especially audience members---make sense of this sometimes arcane and inscrutable dance form. Centering on the April, 2012 performance of choreographer John Jasperse's Canyon at the Wexner Center for the Arts in Columbus, Ohio, I use interviews with Jasperse and his dancers and with audience members as well as my observations of Canyon rehearsals and performances to begin to answer this question.

ISBN: 9781321496536Subjects--Topical Terms:

610547
Dance.

Poetics and Perception: Making Sense of Postmodern Dance.
LDR:03738nmm a2200301 4500 001 2064436
005 20151117073146.5
008 170521s2014 ||||||||||||||||| ||eng d
020 $a 9781321496536
035 $a (MiAaPQ)AAI3672328
035 $a AAI3672328
040 $a MiAaPQ $c MiAaPQ
100 1 $a Stanich, Veronica Dittman. $3 3179023
245 1 0 $a Poetics and Perception: Making Sense of Postmodern Dance.
300 $a 293 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-05(E), Section: A.
500 $a Adviser: M. Candace Feck.
502 $a Thesis (Ph.D.)--The Ohio State University, 2014.
520 $a Postmodern dance demonstrates characteristics and choreographic conventions that differ radically from those of the commercial theatrical dance that pervades our culture. In this study, I address the question of how people---dancers and choreographers, but especially audience members---make sense of this sometimes arcane and inscrutable dance form. Centering on the April, 2012 performance of choreographer John Jasperse's Canyon at the Wexner Center for the Arts in Columbus, Ohio, I use interviews with Jasperse and his dancers and with audience members as well as my observations of Canyon rehearsals and performances to begin to answer this question.
520 $a While audience members make the performance meaningful for themselves in diverse ways---social, emotional, intellectual---I focus on the aesthetic sense they make of Canyon. That is, I examine the strategies and codes they employ to interpret the work, to determine its "aboutness." I find that the codes that are most successful, that allow the viewer the most satisfaction and the least frustration, are, like its characteristics, unique to postmodern dance. For example, viewers who are not overly concerned with the choreographer's intention and who employ a logic of metonymy rather than one of metaphor or narrative make sense of Canyon with relative ease."Dance insiders"---those who are involved in the world of dance themselves and attend concert dance often---employ these strategies more fluently, but I find "dance outsiders" also calling on them in varying measures. In addition, I find that underlying all successful aesthetic meaning-making of Canyon is an ability to discern the formal elements of dance---its spatial configurations, actions, timing, relationships, qualities, and choreographic structures.
520 $a The implications of this study resonate in concentric circles. They are important for the choreographers and presenters who bemoan the size of the audience for postmodern dance. Awareness of how a dance performance "works," for whom it works, and by what means, affords a better understanding of how audience members connect to their product. Dance scholars and historians may benefit from the data and analysis in this study as a snapshot of a specific, situated instance of postmodern dance in our time while the study's focus on the means of understanding will be of interest to scholars of visual culture and of semiotics of the theater. Outsiders to the world of dance may find that the study provides an entry point into a sometimes arcane form. Finally, a postmodern dance concert is temporal, visual, immediate, musical, kinesthetic, and essentially ambiguous---diverse modes of expression that are shifting, variously, into and out of the foreground of our culture. As such, this study has implications for how we process a spectrum of contemporary experiences.
590 $a School code: 0168.
650 4 $a Dance. $3 610547
650 4 $a Performing arts. $3 523119
690 $a 0378
690 $a 0641
710 2 $a The Ohio State University. $b Dance Studies. $3 3179024
773 0 $t Dissertation Abstracts International $g 76-05A(E).
790 $a 0168
791 $a Ph.D.
792 $a 2014
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3672328