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Articles 1 - 13 of 13
Full-Text Articles in Dance
Mochizuki: History And Context, Michael Watson
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Mime Journal
No abstract provided.
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu, Diego Pellecchia, Rebecca Teele Ogamo
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
Mime Journal
Nō techniques and play borrowings provided important infusions into kabuki throughout its history, but in the nineteenth century, a genre of kabuki plays in close imitation of nō or kyōgen wasadded to the kabuki repertoire. The genre came to be called matsubamemono, meaning “[nō/kyōgen-derived kabuki] plays [performed] on a stage with a pine painted on the back wall” or “pine-boardplays.”1 These plays are the focus of this article, in which I first introduce the genre and its place in kabuki history, and then discuss its most famous example, the play Kanjinchō (Hattori 17–40; Meisakukabuki zenshū 181–197; Brandon, The Subscription List …
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige, Diego Pellecchia, Rebecca Teele Ogamo
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
Walk: Artist's Statement, Yozmit Walker
Walk: Artist's Statement, Yozmit Walker
Mime Journal
Testifying to Thomas Leabhart’s legacy as a corporeal mime performer and educator, his former student Yozmit reflects on her performance piece “Walk,” a site-specific work created for a 2013 conference on Edward Gordon Craig at Pomona College (CA). Yozmit describes the way Leabhart’s teaching – partly inspired by Craig’s work – helped her to explore the balance between artistic thought and rigorous physical training.
The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, Olga Taxidou
The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, Olga Taxidou
Mime Journal
Olga Taxidou analyzes the ambiguous concept for which Edward Gordon Craig is best known—the “übermarionette”—alongside Isadora Duncan’s discussions of the liberated dancer. Highlighting the emphasis on futurity in Craig’s and Duncan’s manifestos and theories, she contends that this pairing works to undo the binaries between Hellenism and modernism, and between mechanistic and vitalistic aesthetics. Emphasizing the impact of Nietzsche’s The Birth of Tragedy (1872) and Charles Darwin’s evolutionary theories upon Duncan’s theory and practice, Taxidou locates Duncan within an intellectual vanguard that includes Jane Harrison and her fellow Cambridge Ritualists as well as major modernist poets.
Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt
Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt
Mime Journal
Cover, front matter, and contents for Mime Journal Special Issue, "Action, Scene, and Voice: 21st-Century Dialogues with Edward Gordon Craig." Guest editors: Jennifer Buckley and Annie Holt.
Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt
Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt
Mime Journal
A roadmap to this Special Issue of Mime Journal. This issue emphasizes the tissue of influences that shaped Craig’s own work and continue to impact contemporary theater and performance. By focusing on the historical contexts in which his ideas were developed and those in which they have been received, the essays counter the widely held perception of Craig as the solitary genius of the “Art of the Theatre.” His claims of originality and singularity have too often obscured the connections between his work and that of other artists—especially the dancer Isadora Duncan, upon whom two of the pieces included here …
The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove
The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove
Mime Journal
Jennifer Buckley interviews dancer, choreographer, and teacher Lori Belilove on Isadora Duncan’s practice and legacy. Belilove argues for Duncan’s modernism, and emphasizes her impact upon Edward Gordon Craig’s developing aesthetic and his career. This edited transcription of their conversation takes its point of departure from Craig’s portfolio of six drawings of Duncan in action, Isadora Duncan: Sechs Bewegungsstudien, Insel Verlag, 1906. Belilove sees both Craig and Duncan as poised between late Victorianism and modernism, and she contends they shared a modernist impulse toward abstraction. Belilove also comments on her own practice as a performer and as a teacher passing …
Front Matter, Contents - Grotowski And His Legacy In Poland, Kathleen Cioffi
Front Matter, Contents - Grotowski And His Legacy In Poland, Kathleen Cioffi
Mime Journal
No abstract provided.
Between Body And Spirit: An Interview With Leszek Bzdyl, Barbara Świąder
Between Body And Spirit: An Interview With Leszek Bzdyl, Barbara Świąder
Mime Journal
Barbara Świąder interviews Leszek Bzdyl, the artistic director of Dada von Bzdülöw Theatre, a dance theatre company that operates on the borderline of artforms. Bzdyl describes his evolution as a dancer, how he started the company with Katarzyna Chmielewska, how Dada’s plays are developed, and his artistic influences, including Jerzy Grotowski. He also assesses the contemporary Polish dance and alternative theatre scenes.
Introduction: Grotowski's Evolving Influence In Poland, Kathleen Cioffi
Introduction: Grotowski's Evolving Influence In Poland, Kathleen Cioffi
Mime Journal
In this introduction, Kathleen Cioffi discusses the physical basis of Jerzy Grotowski’s practice and describes how it developed through the various stages of his career, from the Laboratory Theatre stage to the Art as vehicle stage. She also surveys Grotowski’s Polish reception, including various controversies surrounding his work, and analyzes the evolution of his influence on several generations of physical theatre practitioners in Poland.