Lamb at the Altar
"This book counters the monolithic notions of who the ‘postmodern’ dancers are. As Lamb at the Altar identifies the contemporary work of an artist usually associated with the Judson Dance Theater of the 60s it reveals someone who has evolved, gained a new but no less creative maturity, and who now sees her work very differently than in those old days of protest and rebellion. The intertextual format is engaging, multifaceted, and modern, probably like the dance itself."—Marcia B. Siegel, author of Tail of the Dragon: New Dance, 1976–1982
"The intention of my work is to dislodge assumptions about the fixity of the three-dimensional body."-Deborah HayHer movements are uncharacteristic, her words subversive, her dances unlike anything done before-and this is the story of how it all works. Les mer
In an original style that has marked her teaching and writing, Hay describes her thoughts as the dance progresses, commenting on the process and on the work itself, and ultimately creating a remarkable document on the movements-precise and mysterious, mental and physical-that go into the making of a dance. Having replaced traditional movement technique with a form she calls a performance meditation practice, Hay describes how dance is enlivened, as is each living moment, by the perception of dying and then involves a freeing of this perception from emotional, psychological, clinical, and cultural attitudes into movement. Lamb at the Altar tells the story of this process as specifically practiced in the creation of a single piece.
Detaljer
- Forlag
- Duke University Press
- Innbinding
- Innbundet
- Språk
- Engelsk
- Sider
- 136
- ISBN
- 9780822314486
- Utgivelsesår
- 1994
Anmeldelser
"This book counters the monolithic notions of who the ‘postmodern’ dancers are. As Lamb at the Altar identifies the contemporary work of an artist usually associated with the Judson Dance Theater of the 60s it reveals someone who has evolved, gained a new but no less creative maturity, and who now sees her work very differently than in those old days of protest and rebellion. The intertextual format is engaging, multifaceted, and modern, probably like the dance itself."—Marcia B. Siegel, author of Tail of the Dragon: New Dance, 1976–1982
"This is a remarkable and wonderful text whose publication will benefit the dance community enormously. It contributes crucial new dimensions to the process of documenting both dancing and dance-making. It breaks new ground as writing about the choreographic process, and at the same time, it reflects beautifully on the work of an exceptional artist."—Susan L. Foster, author of Reading Dancing