Dance in Musical Theatre A History of the Body in Movement
Produktdetaljer
Biografisk notat
Dustyn Martincich is an Associate Professor of Theatre and Dance at Bucknell University.
Phoebe Rumsey is a Senior Lecturer in Musical Theatre and Course Leader of the BA (Hons) Musical Theater degree at the University of Portsmouth in the United Kingdom.
Benae Beamon is a scholar and artist. Her scholarship focuses on religion, ethics, and culture, specifically black cultural expressions as they intersect with ritual and reflect moral imagination.
Bud Coleman is the Roe Green Professor of Theatre and Associate Dean of the College of Arts & Sciences, University of Colorado Boulder.
Tome’ Cousin is a Full Professor of Dance in the School of Drama at Carnegie Mellon University.
Joanna Dee Das is an Associate Professor in the Performing Arts Department at Washington University in St. Louis and an affiliate of the Program in American Culture Studies.
Ramón Flowers is an Assistant Professor in the Department of Dance in the Jordan College of the Arts, at Butler University.
Mijiang “M-Jay” He is a Chinese actor, director, choreographer, and musical theater educator.
Michael D. Jablonski is an Assistant Professor of Musical Theatre and Program Coordinator for the BFA Music Theatre program at Brenau University.
Nathan James is the Managing Director or The Dang Academy and former Director of HE Programmes at the Urdang Academy, London.
Ariel Nereson is an associate professor of dance studies and Director of Graduate Studies in the Department of Theatre and Dance at the University at Buffalo, SUNY.
Adrienne Gibbons Oehlers is currently a PhD Theatre Candidate at The Ohio State University and a recipient of the AAUW American Fellowship for 2022-23.
Amanda Olmstead (she/her) received her PhD in Theatre and Performance Studies from the University of Pittsburgh, MA in Performance Studies from New York University, and BA in Theatre and Dance from the Indiana University of Pennsylvania.
Kim Varhola is an Assistant Professor of Drama and Musical Theatre at Keimyung University in Daegu, South Korea.
Alexandra Joye Warren is currently an Assistant Professor of Performing Arts at Elon University and a Director/Choreographer for the Music Theatre program.
Kevin Winkler enjoyed a career of more than twenty years as a curator, archivist, and administrator at the New York Public Library, prior to which he was a professional dancer.
Martincich and Rumsey have co-edited a timely collection that elucidates the meaning making capacities, sociohistorical complexities, and contemporary practices of musical dance ... <i>Dance in Musical Theatre: A History of the Body in Movement</i>—with its understanding of dance as a dramaturgical driver and powerful site of identity and cultural representation—offers a particularly useful resource for educators and students engaged in the study and production of musical theatre within college and university contexts.
Dance Chronicle
An excellent collection of essays that gives refreshing insight into the history of dance in musical theatre … Written by a mix of theatre practitioners and academics, [the book brings] intriguing, insightful and varied perspectives on the role and history of dance in musical theatre that may escape the casual theatregoer. This is a book well worth making time for.
Everything Theatre
From Oklahoma! and West Side Story, to Spring Awakening and Hamilton, dance remains one of the most important and key factors in musical theatre.
Through the integration of song and dance in the 'dream ballets' of choreographers like Agnes De Mille; the triple threat performances of Jerome Robbins’ dancers; the signature style creation by choreographers like Bob Fosse with dancers like Gwen Verdon; and the contemporary, identity-driven work of choreographers like Camille A. Brown, the history of the body in movement is one that begs study and appreciation.
Dance in Musical Theatre offers guidelines in how to read this movement by analyzing it in terms of composition and movement vocabulary whilst simultaneously situating it both historically and critically. This collection provides the tools, terms, history, and movement theory for reading, interpreting, and centralizing a discussion of dance in musical theatre, importantly, with added emphasis on women and artists of color.
Bringing together musical theatre and dance scholars, choreographers and practitioners, this edited collection highlights musical theatre case studies that employ dance in a dramaturgically essential manner, tracking the emergence of the dancer as a key figure in the genre, and connecting the contributions to past and present choreographers. This collection foregrounds the work of the ensemble, incorporating firsthand and autoethnographic accounts that intersect with historical and cultural contexts.
Through a selection of essays, this volume conceptualizes the function of dance in musical: how it functions diegetically as a part of the story or non-diegetically as an amplification of emotion, as well as how the dancing body works to reveal character psychology by expressing an unspoken aspect of the libretto, embodying emotions or ideas through metaphor or abstraction.
Dance in Musical Theatre makes dance language accessible for instructors, students, and musical theatre enthusiasts, providing the tools to critically engage with the work of important choreographers and dancers from the beginning of the 20th century to today.
Table of Contents
Image List
List of Contributors
Acknowledgements
Introduction:
Dustyn Martincich and Phoebe Rumsey
Section I: Choreography and Function
Chapter 1:
Reading Dance: The Body in Motion Onstage
Phoebe Rumsey
Chapter 2:
Dancing Genre: Influences on Dance in Musical Theatre
Nathan James
Chapter 3:
Musical Theatre Dance Training: Approaches in the United States and China
Mijiang He and Dustyn Martincich
Chapter 4:
Ensembles in Motion: Formations, Spectacle, and Unison
Adrienne Gibbons Oehlers
Chapter 5:
Dancing Narrative: Storytelling through the Ensemble Body
Amanda Olmstead
Chapter 6:
Storytelling through Dance: The Rise of the Dream Ballet
Bud Coleman
Chapter 7:
Making Space, Keeping Time: Musical Theatre Dance and Temporality in the United States
Joanna Dee Das
Section II: Approaches to Choreography and the Body
Chapter 8:
Take Off with Us: Expressing Gender and Sexuality in Golden Age Broadway Choreography
Kevin Winkler
Chapter 9:
Asian Faces, American Bodies: Reading Asian/American Movement on the Broadway Stage
Kim Varhola
Chapter 10:
Tap and the Broadway Musical:
Subversion and Subjectivity through Historical Consciousness
Benae Beamon
Chapter 11:
Ballet, Race, and the Great White Way
Ramon Flowers
Chapter 12:
Conversations, Creators & Storytellers in Contact: An Interview with Tomé Cousin
Phoebe Rumsey
Chapter 13:
Postmodern Dance’s Legacies on the Contemporary Musical Theatre Stage
Ariel Nereson
Chapter 14:
Movement Direction in Musical Theatre: Physical Actions and Gestural Storytelling
Michael D. Jablonski and Dustyn Martincich
Chapter 15:
Everybody Cancan: Contemporary Musical Theatre Dance
Dustyn Martincich and Alexandra Joye Warren
Produktdetaljer
Biografisk notat
Dustyn Martincich is an Associate Professor of Theatre and Dance at Bucknell University.
Phoebe Rumsey is a Senior Lecturer in Musical Theatre and Course Leader of the BA (Hons) Musical Theater degree at the University of Portsmouth in the United Kingdom.
Benae Beamon is a scholar and artist. Her scholarship focuses on religion, ethics, and culture, specifically black cultural expressions as they intersect with ritual and reflect moral imagination.
Bud Coleman is the Roe Green Professor of Theatre and Associate Dean of the College of Arts & Sciences, University of Colorado Boulder.
Tome’ Cousin is a Full Professor of Dance in the School of Drama at Carnegie Mellon University.
Joanna Dee Das is an Associate Professor in the Performing Arts Department at Washington University in St. Louis and an affiliate of the Program in American Culture Studies.
Ramón Flowers is an Assistant Professor in the Department of Dance in the Jordan College of the Arts, at Butler University.
Mijiang “M-Jay” He is a Chinese actor, director, choreographer, and musical theater educator.
Michael D. Jablonski is an Assistant Professor of Musical Theatre and Program Coordinator for the BFA Music Theatre program at Brenau University.
Nathan James is the Managing Director or The Dang Academy and former Director of HE Programmes at the Urdang Academy, London.
Ariel Nereson is an associate professor of dance studies and Director of Graduate Studies in the Department of Theatre and Dance at the University at Buffalo, SUNY.
Adrienne Gibbons Oehlers is currently a PhD Theatre Candidate at The Ohio State University and a recipient of the AAUW American Fellowship for 2022-23.
Amanda Olmstead (she/her) received her PhD in Theatre and Performance Studies from the University of Pittsburgh, MA in Performance Studies from New York University, and BA in Theatre and Dance from the Indiana University of Pennsylvania.
Kim Varhola is an Assistant Professor of Drama and Musical Theatre at Keimyung University in Daegu, South Korea.
Alexandra Joye Warren is currently an Assistant Professor of Performing Arts at Elon University and a Director/Choreographer for the Music Theatre program.
Kevin Winkler enjoyed a career of more than twenty years as a curator, archivist, and administrator at the New York Public Library, prior to which he was a professional dancer.