東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Commodifying Choreography: The Sale,...

Leopold, Elizabeth Fischel.

Linked to FindBook

Google Book

Amazon

博客來

Commodifying Choreography: The Sale, Licensing, and Appraisal of Concert Dance Repertory.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Commodifying Choreography: The Sale, Licensing, and Appraisal of Concert Dance Repertory./
Author:	Leopold, Elizabeth Fischel.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	243 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.
Contained By:	Dissertation Abstracts International78-10A(E).
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10279126
ISBN:	9781369818659

Commodifying Choreography: The Sale, Licensing, and Appraisal of Concert Dance Repertory.
Leopold, Elizabeth Fischel.

Commodifying Choreography: The Sale, Licensing, and Appraisal of Concert Dance Repertory. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 243 p.

Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.

Thesis (Ph.D.)--Northwestern University, 2017.

This dissertation seeks to explain the twenty-first century commercialization of American concert dance through sale, licensing, and monetary valuation. These exchanges and valuation practices occur, in complex and contradictory ways, through government, private sector, and nonprofit processes -- including tax regulation, estate planning, insurance coverage, private and public sales, museum acquisition, and dance repertory licensing practices. To this end, a merging of performance and economic theory with practical tools from various creative industries helps to describe and define a choreographic commodity. As the U.S concert dance field shifted from choreographer-centered companies to a repertory model in the later half of the twentieth century, dance licensing practices grew alongside performative museum acquisitions and made way for the emergence of a choreographic commodity and the subsequent monetary valuation of concert dance works. I argue that the choreographic commodity refers to classed understandings of movement possibility and the body itself, with its monetary value derived from complicated, historical relationships to the commercial exchange of artworks in adjacent disciplines. The actions of private sector and government agencies police the possibility for choreographic value and imbue the choreographic commodity with classed ideologies that perpetuate the failing divide between the nonprofit sector and the commercial marketplace. Choreographer William Forsythe's 1987 ballet, In the Middle, Somewhat Elevated, is the central case study of this research, revealing how the practice of licensing encounters intense complexity, even resistance, from within the dance studio. Ethnographic retellings of the remounting process illuminate questions of authorship, ownership, bodily habitus, and embodied archives, bringing this research to a focus on the actual, physical bodies of choreography's commodity state. Through this dissertation research, concert dance choreography is revealed as a commercial market entity outside of the perceived safety of an isolated nonprofit sector, shaped by its surroundings and its past, and evolving to respond to and survive within an increasingly commodified landscape.

ISBN: 9781369818659Subjects--Topical Terms:

610547
Dance.

Commodifying Choreography: The Sale, Licensing, and Appraisal of Concert Dance Repertory.
LDR:03188nmm a2200301 4500 001 2126308
005 20171128071849.5
008 180830s2017 ||||||||||||||||| ||eng d
020 $a 9781369818659
035 $a (MiAaPQ)AAI10279126
035 $a AAI10279126
040 $a MiAaPQ $c MiAaPQ
100 1 $a Leopold, Elizabeth Fischel. $3 3288406
245 1 0 $a Commodifying Choreography: The Sale, Licensing, and Appraisal of Concert Dance Repertory.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2017
300 $a 243 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.
500 $a Adviser: Susan Manning.
502 $a Thesis (Ph.D.)--Northwestern University, 2017.
520 $a This dissertation seeks to explain the twenty-first century commercialization of American concert dance through sale, licensing, and monetary valuation. These exchanges and valuation practices occur, in complex and contradictory ways, through government, private sector, and nonprofit processes -- including tax regulation, estate planning, insurance coverage, private and public sales, museum acquisition, and dance repertory licensing practices. To this end, a merging of performance and economic theory with practical tools from various creative industries helps to describe and define a choreographic commodity. As the U.S concert dance field shifted from choreographer-centered companies to a repertory model in the later half of the twentieth century, dance licensing practices grew alongside performative museum acquisitions and made way for the emergence of a choreographic commodity and the subsequent monetary valuation of concert dance works. I argue that the choreographic commodity refers to classed understandings of movement possibility and the body itself, with its monetary value derived from complicated, historical relationships to the commercial exchange of artworks in adjacent disciplines. The actions of private sector and government agencies police the possibility for choreographic value and imbue the choreographic commodity with classed ideologies that perpetuate the failing divide between the nonprofit sector and the commercial marketplace. Choreographer William Forsythe's 1987 ballet, In the Middle, Somewhat Elevated, is the central case study of this research, revealing how the practice of licensing encounters intense complexity, even resistance, from within the dance studio. Ethnographic retellings of the remounting process illuminate questions of authorship, ownership, bodily habitus, and embodied archives, bringing this research to a focus on the actual, physical bodies of choreography's commodity state. Through this dissertation research, concert dance choreography is revealed as a commercial market entity outside of the perceived safety of an isolated nonprofit sector, shaped by its surroundings and its past, and evolving to respond to and survive within an increasingly commodified landscape.
590 $a School code: 0163.
650 4 $a Dance. $3 610547
650 4 $a Economic theory. $3 1556984
650 4 $a Arts management. $3 3168382
690 $a 0378
690 $a 0511
690 $a 0424
710 2 $a Northwestern University. $b Theatre and Drama. $3 1024500
773 0 $t Dissertation Abstracts International $g 78-10A(E).
790 $a 0163
791 $a Ph.D.
792 $a 2017
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10279126