A measured pace : toward a philosophical understanding of the arts of dance /

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Although the theoretical importance of dance has always been recognized, dance has been relatively neglected in the philosophy of art. In this sequel to Off the Ground, in which Professor Sparshott focused on the concept of dance in general, A Measured Pace considers the recognized classification of...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Sparshott, Francis Edward, 1926-2015 (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Toronto [Ont.] : University of Toronto Press, ©1995.
Colección:Toronto studies in philosophy.
Temas:
Dance > Philosophy.
Danse > Philosophie.
PERFORMING ARTS > Dance > Classical & Ballet.
PERFORMING ARTS > Dance > Modern.
PERFORMING ARTS > Dance > Reference.
PERFORMING ARTS > Dance > General.
Dance > Philosophy
Tanztheater
Dans.
Theorieën.
Filosofie.
Dancing
Electronic books.
e-books.
Livres numériques.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Contents
  • Preface
  • 1 Introduction
  • PART ONE: Kinds of Dance
  • 2 The Problem of Classification
  • 2.1 How Showbiz Did It
  • 2.2 How Libraries Do It
  • 2.3 Dances as Individuals
  • 2.4 Dimensions of Meaning
  • 2.5 Quality and Context
  • 3 Classification by Context
  • 3.1 Self-defined and Other-defined
  • 3.2 Forms of Life
  • 3.3 Amateur and Professional
  • 3.4 Regular and Irregular
  • 3.5 Audiences
  • 3.6 Dancers
  • 3.7 The Context of Art
  • 3.8 Motivations and Meanings
  • 4 Mimesis
  • 4.1 Quality: Intrinsic Classifications
  • 4.2 Formal and Mimetic5 Expression
  • 5.1 Individual Expression
  • 5.2 Social Expression
  • 5.3 Being in the World
  • 6 Formal Principles of Movement
  • 6.1 Basic Movement Types
  • 6.2 Recapitulation
  • 7 Anatomy
  • 7.1 Feet and Hands
  • 7.2 Whole and Part
  • 8 Units and Systems
  • 8.1 Units of Movement
  • 8.2 Movement Systems
  • 9 Rhythm
  • 9.1 The Conceptual Question
  • 9.2 The Basics
  • 9.3 The Sources of Rhythm
  • 9.4 Repetition, Pattern, and Flow
  • 9.5 More Conceptual Questions
  • 9.6 The Uniqueness of Rhythms in Art
  • 10 One and Many
  • 10.1 One among Many10.2 Groups
  • 10.3 Chorus and Solo
  • 10.4 Couples
  • 10.5 Conclusion
  • 11 Modes of Dance Organization
  • 11.1 Narrative
  • 11.2 Music
  • 11.3 Dance Form
  • 11.4 Conclusion
  • PART TWO: Dance and Related Fields
  • 12 Dance and Music
  • 12.1 Symbiosis
  • 12.2 The Art of Dance and the Art of Music
  • 12.3 The Relation of a Dance to Its Music
  • 12.4 Music Structure and Dance Structure
  • 13 Dance and Language
  • 13.1 Verbal Mediation
  • 13.2 Gesture
  • 13.3 Dancing and Talking
  • 13.4 What Is Language?
  • 13.5 The Semiological Extension14 Dance and Theatre
  • 14.1 Performing Arts
  • 14.2 Dance and Drama
  • 14.3 Dance and Scene
  • PART THREE: Aspects of Dance
  • 15 Dance Values
  • 15.1 Singularities
  • 15.2 Generalities
  • 15.3 Dance Criticism
  • 15.4 Conclusion
  • 16 Dancer and Spectator
  • 17 Learning to Dance
  • 17.1 Learning Dances
  • 17.2 Learning Dancing
  • 17.3 Learning to Dance for the Public
  • 17.4 From the Particular to the General
  • 17.5 The Solitary Dancer
  • 17.6 Conclusion
  • 18 Dance and Choreography
  • 18.1 The Basic Hierarchy
  • 18.2 Composition and Execution18.3 Choreography and the Dimensions of Dance
  • 18.4 What Choreographers Need to Know
  • 18.5 The Necessity of Choreography
  • 18.6 Margins of Choreography
  • 19 The Identity of a Dance
  • 19.1 Dance and Dancer
  • 19.2 Performance Type and Performance Token
  • 19.3 Performance and Performing
  • 19.4 The Identity of a Dance
  • 20 Recording Dance
  • 20.1 Score and Transcription
  • 20.2 Notation
  • 20.3 Film and Video
  • 20.4 Conclusion
  • 21 Conclusion
  • 22 Afterword: The Three Graces
  • Notes
  • References
  • Index

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