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In exploring the nature and consequences of the aesthetic unity, this chapter first focuses on a dancer's and an audience's experience of dance, pointing out in the process an affective difference and a difference evident in an audience's recognition of technical virtuosity.
Liza Gennaro and Stacy Wolf’s essay, “Dance in Musical Theater,” takes a long-overdue critical journey through the history of musical theatre dance, isolating eight consistent functions that help us understand its various roles in perhaps the most obviously interdisciplinary performance genre.
This paper explores the impact Rudolf Laban's graphic approach has had on movement analysis and an analytical approach to dance-movement based on an understanding of human motion as a...
My central task in this chapter is to articulate a methodology for analyzing dance in musical theater performance. I begin by discussing definitions of both dance and choreography in this context, assessing the existing body of writings on dance in musical theater, and offering a few observations as to why such scholarship has rarely been pursued.
1 mar 2016 · The purpose of that chapter is to give a brief origin of dance, noting the essential types of Western dance, to associate dance as a form of physical activity with a high presence of...
This chapter defines and examines seven primary functions of dance in musicals: as an exploration of character in psychological terms, as a narrative tool, as an unspoken aspect of libretto, as a transitional device, to develop character, as metaphor, and as danced abstraction within the narrative.
While choral song-dance was a fundamentally communal practice, thoroughly embedded in social, civic, and ritual contexts, it came in a wide variety of forms and made space for individual and local
