Dance is often considered an ephemeral art, one that disappears nearly as soon as it materializes, leaving no physical object behind. While most cultural works are tangible, like books in print and framed artworks on display, the practice of dance remains more elusive. Dance involves peopletrying to embody some abstract, unwritten thing that exists before - and survives beyond - their particular acts of dancing. But what exactly is that thing? For that matter, what is a dance? And do dances continue to exist when not performed? Anna Pakes seeks to answer these questions and more inthis exciting new volume, which investigates what sort of thing dance really is.Focusing on Western theater dance, Choreography Invisible: The Disappearing Work of Dance explores the metaphysics of dance and choreographic works. The volume traces the different ways dances have been conceptualized across time, through such lenses as the cultural theory of Derrida, the philosophyof Ranciere and Baidou, and contemporary dance theory. It examines how dances have survived through time, and what it means for a dance work to be forgotten and lost. In her exploration of the amorphous and fleeting nature of dance as a cultural object, Pakes ultimately transforms the way weunderstand the very nature of art.
In its analysis of gender and class relations and their political forms, in giving voice to the many who have left only a fleeting trace in the historical record, Clark's study is a pioneering classic. . . . It also has a salience for many of our present social and political dilemmas."—Leonore Davidoff, Editor, Gender and History "Deeply researched, scholarly, serious, important. This is a big book that develops a significant new line of inquiry on a classic story in modern history—the making of the English working class. Clark shows in great and persuasive detail how we might read this tale through the lens of gender."—Thomas Laqueur, author of Making Sex
Construction work on La Fenice began in 1791 and the opera house was opened 18 months later in 1792. The theatre has suffered two fires in its more than 200 year history; the first in 1836 (it was rebuilt and reopened in December of the same year), the second in 1996. La Fenice 1792-1996 recounts the history of the institution, founded as a company closely and continuously related to the society, politics, culture and economy of Venice. The theatre, with its two centuries of history, is one of the most significant monuments around which a large part of Venetian city life has revolved. Considered the main theatre in Venice since its foundation, it has retained a dominant and essential role both in the modern architectural development of Venice and in the history of the tastes and fashions that marked the entire nineteenth century and the early twentieth. It therefore represents not only musical history, but a chapter in the history of Venice and of Europe. The attractively styled and superbly illustrated book documents many moments in the history of the opera house that, despite the numerous publications on the subject, had remained obscure. also contains several double-page charts on a coloured background in which critics, musicologists, scholars and cultural figures examine episodes, personalities and specific and circumstantial anecdotes, helping to better define the role of La Fenice among the theatres of the world.
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