The Art of Making Dances by Doris Humphrey(from the jacket)
Doris Humphreys The Art of Making Dances is perhaps the most important book of its kind ever published. Written just before her death in 1958, it is Miss Humphreys autobiography in art, a gathering together of her experiences in performance and a lucid and practical source book on choreography.
One of the truly great figures in the dance world -- a pioneer of American modern dance, a great choreographer and teacher whose influences and innovations are apparent everywhere in the field -- Miss Humphrey has given us the first modern book on the art of choreography, and indespensible guide not only for the modern dance but for all stage creations.
The Art of Making Dances presents modern dance as theater. It contains a short history of the dance and various chapters discuss design, dynamics, and rhythm of dance. It includes a check list for composers of dances and an appendix of all the dances composed by Miss Humphrey.
FORM Dance Projects
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Humphrey began dancing at the age of 8 and began a career as a teacher of ballroom dance in Chicago in In she moved to Los Angeles, where she worked with the Denishawn Company. She remained with this company until , dancing in the early "music visualizations" Sedon Arabesque and Sonata Pathetique and choreographing her own first work, Tragica, in In Humphrey left the Denishawn Company with her dance partner Charles Weidman and went to New York, where they formed their own company the following year. The company performed for 16 years until arthritis forced Humphrey to retire from dancing, at which time the company disbanded. These works helped build the foundation for the philosophy of modern dance.
*FREE* shipping on qualifying offers. Doris Humphrey's The Art of Making Dances is perhaps the most important book of its kind ever published. Written just .
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Within it there is a passage, written as a virtual commandment not to choose the big intangibles as subject matter, as one is doomed to failure if one so chooses. What has been of primary interest to me is the diversity in which they have tackled these bigger-than-Ben Hur endeavours. For different reasons they have seemed easily accessible and in some cases the matter of accessibility has initially appeared at odds with the intent being delivered. The works were in no way less engaging for this fact. Down stage, upstage, down stage, upstage, performed by one, then two and progressively many dancers. In the first she performed a solo in a white, translucent, layered mesh-like fabric.
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