Book Description

Covering today's most important modern, ballet, contemporary and post-modern choreographers in Europe and North America, this unique guide is a valuable quick reference for students and critics, dancers and general readers in love with dance.

Each entry includes a biographical section, a chronological list of works, a detailed bibliography and a critical essay. In entries on choreographers such as Richard Alston, Pina Bausch, Laurie Booth, Christopher Bruce, Jonathan Burrows, Michael Clarke, Merce Cunningham, Anna Theresa De Keersmaeker, Eiko and Koma, William Forsythe,Jiri Kylain, Mark Morris, Twyla Tharp and other leading figures, readers can easily locate each choreographer's style and influence within the development of contemporary theatre dance, and swiftly discern the essential facts in his or her career. ... Read more

Book Description

Written for the adult beginner, Ballet Basics is a well-illustrated introduction to the fundamentals of ballet technique. The text also provides an overview of the history of ballet. ... Read more

Reviews (3)

The Best Book for Adult Beginners...
Finally a good ballet instruction book that's encouraging and doesn't talk down to adult beginners. The more ballet classes I take, the more I realize how well this book distills the important aspects of ballet. Sketches and photos showing correct (and incorrect) body positioning are appropriately used. When I started ballet, I picked up a handful of books, and I always reached for this one when I had 10 minutes to learn a new tidbit. The brief history of ballet in the final chapter is added bonus. If you're an adult beginner, start with this book and the David Howard videos, plus a good teacher once or twice a week. You won't be auditioning for the American Ballet Theatre, but you'll become a proficient dancer pretty quickly.

Great learning aid for adult beginners
I have the 3rd edition of this book, which was required for a college Ballet I class. As a beginning, adult, male student, I found the book to be very detailed - which I like. She gives you illustrations of steps, with the French name & pronunciation, why your doing it (e.g. to stretch certain muscles), a description, etc..

Initially, working at the barre (e.g. how to stand, plie', positions of the feet) Sandra gives correct & incorrect drawings. Of course, no book or video can replace being in class nor should it. With ballet you need a teacher to correct what your doing wrong so you can learn from it. Then having good books, videos, etc. as reference material helps you learn.

The book is written for us beginner adults, not children and not the pro's, which is really nice. Since we don't have nearly the flexibility of them. It also includes some history in the back of the book. Illustrations show men as well as women. Also included is what to wear to class, what to expect in class, how you should act, etc..

Get her other book once you get beyond the basics.

Excellent basic technique manual
This book provides a good solid basic technique overview. It has been used as a textbook at some colleges, and was highly reccomended by my former headmistress. I found the text interesting and helpful, and the illustrations sufficient. Of course, no book can replace a talented instructor, but as a supplement to a dance program, this book is superior. ... Read more

Reviews (3)

Great for Rythm Tapping
I was trained in traditional and flash tap dancing, so I knew very little about rhythm tap. This book goes over the basics of tap and many traditional tap steps. What makes it so great, though, are the in-depth explanations of rhythm, dynamics, syncopation, accents, and new forms of tap, including rhythm tap and orchestrated tap. The explanations are clear and easy and the practice exercises are excellent. This is a must-have book for anyone wishing to expand their tap knowledge and artistry.

Excellent how to book, but it's no dictionary
I'm an advanced tapper who just recently began teaching an intermediate tap class. I decided to find a dictionary of tap in case one of my students asked me about a step I may not know. I ordered this book and realized that it was no dictionary. So if you're looking for a dictionary I suggest looking somewhere else. It is a wonderful how to book though! For instance it talks about syncopating the beat, has pictures of proper placement of your your foot on shuffles, tons of combinations, etc. I suggest this book to tap teachers of all levels and students interested in bettering themselves!

A must-have for tap teachers and students
This book has been a wealth of ideas and information. I use many of the drills and combinations in my classes. They are clearly notated and easy to understand (which is unusual for a "book" on tap dance). I would recommend this book for anyone at an intermediate level or higher. Well worth the money! ... Read more

Reviews (2)

EXCELLENT! A thorough explanation of dance for the church.
This extensive explanation of dance's original creation and place in the church for worship is a must-have for anyone interested in worship. Not just a dance book. Biblical foundations of dance's history and use in the church put any questions to flight about its propriety. GET THIS FOR YOUR MINISTER FOR TEACHING OVER THE PULPIT! Excellent resource.

Definitive book on restoring the art of dance to the church.
Restoring the Dance is a definitive book on restoring the art of dance to the church. It briefly looks at the history of dance in the church. It gives practical examples of how and why dance should be restored to Christian Worship. ... Read more

Book Description

Conditioning for Dance improves your technique and performance in all dance forms by strengthening the body’s core while improving your coordination, balance, alignment, and flexibility. The result is more lift without tension, deeper pliés, higher jumps with less effort, tighter turns, and improved extension and turnout.

The innovative, proven techniques in this book will help you execute key movements better as you

·strengthen the muscles you use in dance by performing exercises with elastic resistance bands;
·start and move in proper alignment using imagery;
·improve your balance and release tension through playful exercises with small balls;
·develop leg and torso power that translates to higher jumps and tighter turns; and
·optimize your flexibility through touch, movement awareness, and imagery.

Conditioning for Dance features 102 imagery illustrations paired with dance-specific exercises to help you maximize body–mind conditioning. The book culminates with a 20-minute, full-body barre workout routine designed to help you warm up, condition, and refine your dance technique.

By working the muscles through movements and ranges of motion that approximate the demands of your chosen dance form, you directly enrich your performance capabilities. And as you strengthen the body’s core, stretch to gain just the right amount of flexibility, and incorporate the power of the mind, you unleash your full artistic and physical potential. ... Read more

Reviews (1)

Superb insights into body function, relaxation, imagery
I'm a professional who utilizes applied biomechanics for a
living. I also study Tai Chi and other internal martial arts.
I am no dancer. I've been exposed through my profession to
Feldenkrais, Pilates, and yoga. Guess what? They're all
virtually the same!

I was turned on to this book by a martial arts colleague.
It has changed the way we look at our martial arts practice.
Franklin does a really nice job of describing the pertinent
functional anatomy in many key areas of your body (pelvis and
pelvic floor, including iliopsoas, back, legs, internal organs,
etc.)-- specifically the importance of key biomechanical
properties. He describes very enriching visualization and touch/
feel exercises to induce greater awareness and relaxation,
thereby promoting function. Higher kicks and jumps, deeper
squats (plie's), all with less effort. It's clear, and the
exercises work!

There are exercises for awareness, relaxation, alignment,
stretching, and strengthening. They are simple, easily done
with small Pilates-type balls and Thera-band, but some
are quite hard and take some work!

My only complaint is that some of his diagrams lack detail,
or there aren't enough diagrams or pictures to fully elucidate
the anatomy or the exercises. He does provide excellent
descriptive text, however.

I've recommended this text to other martial artists, to my
colleagues, to physical therapists, and to medical students.
Well done, and I will certainly add some of his other books to \
my wish list! ... Read more

Book Description

Ballet in Western Culture is a history of the development of ballet designed for dance history courses. After a brief discussion of the origins of dance through the middle ages, the author then traces the beginnings of ballet to Renaissance spectacle in Italy and the beginnings of ballet in France. In the second part of the book, the maturation of ballet as a style is studied, from the 1600s through the 1800s, in France, Russia, and other major European countries.Finally, the last part of the book focuses on the changes in ballet through the 20th century, including major movements in the U.S. and Europe.Nicely illustrated with historic prints and photos, the book is easy to read and ideally suited to the dance history student, addressing both historical issues and the evolution of ballet technique. ... Read more

Book Description

Born in the slums of Buenos Aires in the last decades of the nineteenth century, the tango--the most erotic, most passionate, most melancholy of dances--has remained spectacularly alive for more than a hundred years. Today it is the focus of a new cult, casting its spell throughout the Americas, Europe, the Pacific basin, and Japan.What is the secret of the tango's appeal? In Tango!, four experts from Europe, North America, and Latin America explore its fascinating history from the earliest beginnings to the present. Historian Simon Collier traces the tango's roots in Argentina and charts its rise from the brothels of Buenos Aires to become the quintessential expression of Argentine popular culture. The writer Artemis Cooper discusses the amazing tango craze of the 1910s in Europe and North America, while anthropologist Maria Susana Azzi looks at the tango's peak years in Argentina, the period from 1920 to 1950. Finally, Richard Martin, Curator at the Costume Institute at the Metropolitan Museum of Art in New York, charts the international boom in the tango's popularity in recent times. He looks, too, at the relationship of woman to man and man to woman in the tango. To match the spectacle of the tango, the book is illustrated with more than 250 photographs and drawings in color and black and white. Special features are built around the brilliant color photography of Ken Haas, recognized worldwide for his fidelity to the spirit of the dance. And as an evocative reminder of the rhythms of the dance, some of the most celebrated tango songs are discussed and quoted. ... Read more

Reviews (3)

Good!
Good but not great. The book follows all the story of tango but there is something missing....many of the pictures are unfortunately 2-paged and cannot be appreciated (plus I couldnt find any passion in any but 2 of them) although the book seems to getting better as you go towards the end. The edition is of course luxury but i can't say i was amazed. Anyhow a good choice for an absolute beginner to tango but I would suggest Horacio's Salas "the tango" in every case.

Tango is more than music and dance.
Until I read "¡Tango!", most of what I knew from tango was what was told by instructors, including Daniel Trenner, Brooke Burdett, half a dozen Argentine nationals, an equal number of Canadians, and a Belgian. It was exciting to get all the information I needed in one place. Tango is more than just music and dance. It is a cultural phenomenon that began in the barrios and bordellos of Buenos Aires and Montevideo, and spread throughout the world. At the base of this cultural phenomenon is the relationship between a man and a woman. Tango is not just an American or South American phenomenon. It has spread throughout the world, and is popular in such diverse countries as Finland and Turkey, as well as those areas where it evolved.

The text of the book is outstanding and well documented. I was pleased with the choice of artwork, old and contemporary photographs, and page layout. It gave me a great understanding of the tango as a cultural phenomenon. There is an excellent bibliography and the text is referenced with footnotes for those who wish to go to some original sources. I am one of those people who are always looking for recommendations for music, and I was pleased to see a two-page listing of tangos, which are available on compact disc. For those who travel, there is a listing of international tango centers. It is an incomplete list, but it would be helpful for those who travel a lot for business or pleasure.

If you like tango, this would be a good book to start your collection. Then you can proceed with "Le Grand Tango: The Life and Music of Astor Piazzola."

A Must for Every "Tango Household"
For a person just discovering the Argentine tango (or who wants to), this is an interesting, beautiful, coffee table book. It's filled with gorgeous illustrations and photographs, as well as poetry, lyrics and fun, historical tidbits about the music & history. It rambles, but that just makes it more fun to open it up and start reading from anywhere. It's been the kind of book that has made even my non-tango friends interested in the dance and cultures behind it. ... Read more

Book Description

The Routledge Dance Studies Reader represents the range and diversity of writings on dance from the 1980s and 1990s, providing contemporary perspectives on ballet, modern dance, postmodern 'movement performance' jazz, South Asian dance and Black dance.

In an enlightening introduction, Alexandra Carter traces the development of dance studies internationally and surveys current debates about the methods and methodologies appropriate to the study of dance. Each section begins with an editorial preface, and features contributions by choreographers, performers, critics and scholars of dance and related disciplinary fields. The sections cover choreography, performance, writing criticism, the place of dance in history and society and analysis of specific dance works. An invaluable introduction to the key dance texts, The Routledge Dance Studies Reader is for anyone interested in enhancing their experience of dance. ... Read more

Book Description

For women who are eager to exercise their mind, body, and spirit, bellydancing is a no-impact exercise that burns fat, increases flexibility, and complements the natural movements of the body. Providing a structured approach to learning the basics, with step-by-step instructions and helpful photographs, Bellydance is the perfect reference for getting fit and having fun. ... Read more

Amazon.com

When graphic designer Paul Colin published a limited edition of lithographs he'd made of dancer Josephine Baker and her revue in Paris in 1927, the French fascination with American jazz musicians and dancers was at its peak--and the 500 hand-colored copies quickly sold out. The 45 lithographs collected under the title Le Tumulte Noir (the book's notes list uproar, frenzy, sensation, brouhaha, and craze among the possible translations for the word tumulte) include a dynamic sketch of Baker in her famous banana skirt, a chalklike drawing of a jazz band in full swing, a feather-bedecked woman dancing in the rain, an interracial flapper couple kicking up their heels, and other images that capture the joie de vivre of the era. Henry Louis Gates Jr. introduces this edition of the lithographs with an essay that reminds readers of the haven African Americans found in France at a time when overt racism and bigotry were rampant in the United States. He then maps the wild success the new musical form jazz, and its beloved interpreter Baker, achieved there. Colin's lithographs are faithfully reproduced in the same size and vertical orientation of the original edition with just the three colors he employed, the original title page, and Baker's own handwritten forward to the work. ... Read more

Reviews (3)

One of the best ballet books ever written!
Ballet is being taught incorrectly all over the world today except for in a few great institutions such as the Royal Ballet School. Valerie Grieg has brought to light the lies that fill so many ballet classrooms today. She explains the technique of ballet simply and clearly and why and how it works. As a student of ballet, I have been incredibly fortunate to have had a teacher who cares about the technique immensely, and it is comforting to know that people such as Grieg still care about the art's technique! If you are either a teacher or student of ballet, this book is a must read! You will benefit greatly from what Grieg has to say.

The best ballet book out there.
I am a young dancer and both my teacher and I have benfited from this book. Not only does it have certain tips, but it teaches dancers about their main asset.... their bodies. The portion about the pelvis not only helped my placement, but everything else benefited from that. My turns were better and so were my balances.

A good quide to understanding your body in dance
A well written guide for danceing correctly. The only problem with it is that it is not written for convience or quick reference. Inside Ballet Technique is what every dancer and teacher should know. Buy it, read it and share it ... Read more

Amazon.com

I believe that we are never more truly and profoundly human than when we dance. --José Limón

Limón's writings here tell of his childhood and early adult years. Born in Culiacán, Mexico, the eldest of 12 children, Limón showed great talent as a visual artist from early on. His family moved to the U.S. when he was 7 (first to Arizona, then California), where he attended Catholic school and continued his drawing and painting. It was not until the late '20s, when he moved to New York City to study art, that Limón saw his first dance concert and changed course entirely. "I knew with shocking suddenness that until then I had not been alive or, rather, that I had yet to be born," he writes. With a level of detail that belies his sense of miraculous discovery, he chronicles his work with and appreciation of such 20th-century choreographic masters as Doris Humphrey, Charles Weidman, Martha Graham, and George Balanchine. The memoir ends just as Limón has formed his own company.

You couldn't ask for better stewardship for these papers, which had been viewable until now only at the dance collection of the New York Public Library for the Performing Arts. The Society of Dance History Scholars, with Lynn Garafola acting as editor, drove this project. Carla Maxwell, the current artistic director of the José Limón Dance Company, wrote the foreword; and Village Voice dance critic Deborah Jowitt penned the introduction. For a short time, at least, Limon lives again. --Jean Lenihan ... Read more

Reviews (1)

Concise, thorough & easy to read
This book is especially interesting and easy to follow. It provides a sound overview of the history of dance with special focus on ballet and modern dance. This book introduces the novice to the legendary art of dance and captures the reader's attention with crafty storytelling. I particularly enjoyed the portion focusing on the history of ballet. Anderson introduces the reader to many of the individuals who shaped and popularized this art form while providing a firm background of the origins and development of this art. This book begins with a history of dance in the Greco-Roman era and brings the reader full circle with discussions of recent triumphs in dance. Anderson creates a book that is informative and thorough while presenting the reader with drawings and photographs of many influential artists and great performances. ... Read more

Reviews (1)

PRACTICAL AND VERY HELPFUL!
Although it is not generally mentioned, a musical performance is more than just the playing of music. The audience notices all kinds of things - what a musician is wearing, what is on the stage, how performers enter and leave, and how they conduct themselves on stage. Poor stage presence can damage or even ruin the performance of even the most accomplished musician. This book highlights the many non-musical things that can seriously affect a musician's performance and their audience's perceptions. It is very enlightening - there are so many factors that you might not have thought of but that really affect what the audience experiences! If you want to win more competitions, have more successful auditions and better attended performances, this straightforward, practical and very helpful text is definitely worth reading. ... Read more

Reviews (4)

A pretty helpful book
This was a very helpful book. The only problem I had was I wished it had more pictures. (It does have some, though). I would definatly recomend it, especially to people who know a few baisic things about ballet, but don't know much.

For the Serious Ballet Student; This is #1 on my List!!!
The Language of Ballet is an extraordinary dictionary of terms and definitions for the serious ballet student. I have been dancing Ballet for 10 years and I still didn't know the correct actual deffinitions and spelling of the terms my teacher used but this book shows you everything from pictures to written definitions. I would give this book 6 stars out of 5 if I could. I highly recommend you order this wonderful dictionary of ballet.

Adv Dancers
This is a great book of adv dancers. Not for someone just starting out. Lots of step/words listed here are never taught/used in normal studio programs and may be over some dancers' heads. But it's very informational if you know what the steps are calls.

Great book. Really focuses on things you should know
this book has all tha awnsers. dont know what a pod-aduex is? its all in here. ... Read more

Reviews (3)

The "Method"??
I am in complete agreement with the reviewer below who wrote the very well written and intelligent review of Strasberg's Method and how paralyzing it is for actors. I would like to add some more thoughts on the matter so that the argument is very clearly and outlined and does not just seem like an unfair attack on the Method, but instead a detailed outline of its many flaws and onesidedness as a technique.
-The Method since it is primarily focused on generating feelings through either past experiences or sensory experiences does create an unhealthy obsession on inner emotional states and not nearly enough on just going deep into understanding the characters situation. Method actors tend to be so focused on their own emotional states that the scene gets lost due to some futile inner, self indulgent technique. Strasberg was very confused in thinking that a: Personal Object, Sense Memory , Affective Memory, or Place could be more important than going deep into the writing and cultivating your talent through creative choices. If one has acting talent and has a good understanding of the characters circumstances (objective, needs, relationship to other characters, character traits etc.)then that in and of itself is the main thing an actor needs....to do the analytical work and then really trust their talent-moment to moment. None of this Method inner manipulation. Method actors become almost morose about generating feelings all the time instead of learning to free themselves up and become spontanous, they just bring themselves down and become self-absorbed.
-The Method does not work or speak much of styles of acting. All the work they do at Straberg's Studio is usually something that is a heavy drama, like :Checkov, Tenessee Williams, Eugene O'Neill, and Ibsen--those heavy, dramatic plays mainly. Try to get a Method actor to work on high comedy, farce, avant-garde pieces and they have no grasp at all of the material. They're always too busy trying to be "real" by generating "real emotion" that they don't develop a sense of different styles needed for acting. It's not all Marlon Brando roles out there!!! (not a method actor by the way).
-What could be more unhealthy psychologically than using past hurts over and over to generate emotions for a scene? Most people are learning to learn to heal the past, to let it go, accept what happened and live in the NOW, the Present. When you generate painful emotions and constantly search for how to "cash in" on past angst, it implies that you can't let go of all these experiences. Wouldn't it be far healthier to learn to let go of your scars once and for all and move on, not to "cash in" on them as some misguided "artistic expression". Yes, it may not be easy to let go, but trying to use a past experience as fuel for a scene is absurd. Pain is a signal to "let go" and live in the NOW, it's not some acting tool! When I went to Strasberg, there was always this very angst ridden energy in the school. People thinking that they are being sensitive artists, because they cry all the time during sensory excercises. I fully accept that we all have past hurts that will trigger pain in us and that it isn't always easy to just transend our hurts, but it should be explored in a more spiritual, therapeutic setting, not as fuel for a scene. This warped perspective creates the subconscious idea that "the external world caused my pain" instead of "my lack of deeper Awareness caused my pain and I am suffering due to MY lack of Awareness and learning to develop deeper Awareness". I don't mean to oversimplify, but that's what it leads to in the end and understanding that is part of the purpose of life. Your dad doesn't solely cause your present pain really, YOU mainly do, due to your lack of inner Awareness and learning to rise above memories of the past and let go. How can someone base an acting technique on those misguided perspectives??? Imagine how damaging that is to actors.
I suggest people avoid this type of technique and seek out a well rounded school that offers thorough scene analysis and encourages being a balanced, smart actor, not just an emotional based actor and to handle there self-awareness issues in the proper environment: counceling, a spiritual setting etc.
I can't tell you how many people I've met (casting directors, directors, actors) over the years that have commented on the poor quality of acting they see at auditions from Method actors. There lack of understanding a character and the difficulty in working with most of them. I've even met directors who have said they will NOT even call in an actor that is a Strasberg trained actor because they expect the poor quality from them. It is a complete myth that Method actors are great actors--a myth. I've just expained why. Learn instead to free up your spontaneity and break down scenes intelligently, use your unlimited imagination, have fun, be in the moment and learn to function organically again by trusting your talent.

A misguided teacher-Strasberg
Even though Strasberg tried to justify his system, the Method has done more harm than good in the acting world. It has created an acting army that is more interested in obessesing about emotions and past experiences than creativity. For those that are truly objective and can look at the Strasberg Method intelligently they will see that it is a highly flawed system and there is a valid reason why he was not well accepted in the acting community of his peers. He was not the genius people made him out to be. He was quite an ego maniac that was obsessed about creating a system that was not even well rounded effective in order to promote himself. It's all in the books if you do the research.
The whole method is very crippling for actors due to how 'heavy handed' it is. Strasberg was a bit of a dark soul himself and that is how his training is-dark and angst ridden. You would walk into a method class and feel like it was a mortuary, not a place where art is taking place, where there is creativity, self expression, love for the craft, you know, all the stuff that makes acting exciting and fun! No, the Strasberg trained people are lost in trying to dig up all their lost unconscious agony. You become obsessed with emotion, your past, your pain etc. That might be OK for a theraputic environment, but not an acting class. The result is that you carry that attitude with your wherever you go and you become way too serious about yourself and acting. You start to leave behind the simple idea of'make believe' and trade it in for your Strasbergian process something deadly serious and agonizing! In that process you lose touch with that inspired, fun side of it and your joy for the process dimishes more and more as time go on. Not to mention that you don't exactly leave a great impression at auditions. (Method actors are usually way too serious at auditions and come across heavy handed). The training is not at all well rounded. It puts almost all the emphasis on your emotional states and how in touch with your feelings you are during a scene and puts very little emphasis on imagination and good scene analysis. Two very important things!!
If you do your research you will find out that Strasberg was not a very well accepted man in the acting community-at all. Many of his respected peers had an actual disdain for him and his system -Stella Adler, Harold Clurman, Marlon Brando, his own son John Strasberg who worked with him for years wrote a book pointing out the Methods flaws and many theatre critics that were bored to tears when they watched a Strasberg production. The main reason he rose to power was because he was good at promoting himself through the Actors Studio. Basically what he did was invite many famous people to the Studio and he tried to take credit for their success. That is basically how Strasberg become a celebrity. These are FACTS, not some gossip I'm inventing. Overall, his system does not work, it mainly hinders actors. Find a well rounded teacher instead that emphasizes imagination and creativity and yes even employs some exercises to help you tune into your here and now sense of being but not this emotional based stuff. It's a bore to watch (and agony to execute).
My intention is not to bash Lee Strasberg. We ALL have our flaws, including this reviewer. It's just that I've seen the negative effects it has on actors and I would love to be able to help you save years of confusion!! Even if some of you will disregard this outline, at least it'll make some of you real pro-Strasberg method people think so that you can now develop some awareness of what I'm saying. Good Luck and God Bless!!!

Enough said about the method.
This book in my view puts to rest the decades long debate about what " method acting " is. IN HIS OWN WORDS, Strasberg explains that these are not the be all and end all for acting, but exercises for unlocking the creative abilities of the INDIVIDUAL ACTOR ! Absorb what you need from it and put the rest on the shelf for later. ... Read more

Book Description

Staging Dance is a practical handbook that covers all aspects of putting on a dance production. It highlights the current diversity of dance activities, choosing examples from working dance groups and from individual dancers. The book includes sections on choreography, music and sound, designing and making sets and costumes, lighting design and technical implementation and stage management. Funding, planning and publicity are also covered. Staging Dance will prove invaluable not only to dance artists, but also those working along side them: musicians, designers, lighting technicians, administrators and directors. ... Read more