Kirjahaku

The Choreography of Environments: How the Anna and Lawrence Halprin Home Transformed Contemporary Dance and Urban Design explores how objects and the domestic spaces seep into the aesthetic consciousness of movement-based artists, like dancers and urban designers, significantly shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreography of Environments builds on this premise to consider the use of ordinary objects from a private residence as lenses into viewing dance innovation. Author Janice Ross posits the Halprins' 1950s iconic mid-century modern home and expansive outdoor dance deck as a hidden archive. She explores four objects from their house and gardens -- staircase, deck, chair, and window -- to trace how, despite the conservative postwar climate, this intimate domestic space became a radical template reshaping postmodern dance invention and its expansion into civic, social, and environmental engagement in the twentieth and twenty-first centuries. The work that happened in this white, middle class, Jewish-American home in a San Francisco suburb paved the way for changes that continue to resonate today across contemporary dance, performance, and urban design. These include: defamiliarizing urban landscape and gardens as cloistered theaters where civic identities are rehearsed, orchestrating collective problem solving and invention, normalizing the nude body, privileging a utilitarian and responsive rather than sentimental approach to dance in the environment, and re-positioning choreography as a vital medium for urban problem solving. These four representative objects in the Halprin home are also used to trace the burgeoning of dance as a forceful medium for civic engagement, and its valorization of the ordinary in movement. As a whole, this book shows how dance, architecture, and landscape design would have a profound confluence through these shared domestic spaces and objects of the Halprins' lives.

The Choreography of Environments: How the Anna and Lawrence Halprin Home Transformed Contemporary Dance and Urban Design explores how objects and the domestic spaces seep into the aesthetic consciousness of movement-based artists, like dancers and urban designers, significantly shaping their approach to movement invention and choreography. If these objects and spaces happen to have been designed by a leading modernist architect and landscape designer working with the dancer, then the aesthetic imprint is amplified. Dance innovation becomes pressed into dialogue with spatial, environmental, and urban agendas. The Choreography of Environments builds on this premise to consider the use of ordinary objects from a private residence as lenses into viewing dance innovation. Author Janice Ross posits the Halprins' 1950s iconic mid-century modern home and expansive outdoor dance deck as a hidden archive. She explores four objects from their house and gardens -- staircase, deck, chair, and window -- to trace how, despite the conservative postwar climate, this intimate domestic space became a radical template reshaping postmodern dance invention and its expansion into civic, social, and environmental engagement in the twentieth and twenty-first centuries. The work that happened in this white, middle class, Jewish-American home in a San Francisco suburb paved the way for changes that continue to resonate today across contemporary dance, performance, and urban design. These include: defamiliarizing urban landscape and gardens as cloistered theaters where civic identities are rehearsed, orchestrating collective problem solving and invention, normalizing the nude body, privileging a utilitarian and responsive rather than sentimental approach to dance in the environment, and re-positioning choreography as a vital medium for urban problem solving. These four representative objects in the Halprin home are also used to trace the burgeoning of dance as a forceful medium for civic engagement, and its valorization of the ordinary in movement. As a whole, this book shows how dance, architecture, and landscape design would have a profound confluence through these shared domestic spaces and objects of the Halprins' lives.

Dzhon Ross - ekstsentrik, poet, bitnik, istorik i politicheskij aktivist. On drug i propagandist sapatistskikh partizan Meksiki, gde on prozhil vsju vtoruju polovinu svoj zhizni, storonnik legalajza, zavsegdataj poeticheskikh slemov i uchastnik antivoennykh aktsij "Zhivogo schita" vo vremja amerikanskikh bombardirovok Bagdada. Amerikanskuju istoriju borby s kapitalizmom Ross perezhival kak svoju lichnuju dramu, cheredu konfrontatsij, podemov i padenij, utopicheskikh nadezhd i revoljutsionnykh opytov. Ego kniga postroena kak doveritelnyj razgovor s uzhe ushedshimi gerojami soprotivlenija - anarkhistami, sotsialistami i marksistami raznykh pokolenij. Eto politicheskaja meditatsija na temu amerikanskikh levykh s momenta ikh fakticheskogo pojavlenija v seredine devjatnadtsatogo veka i vplot do antiglobalistskogo protivostojanija v Sietle i antivoennykh demonstratsij vo vremja vojny v Irake.

V svoej knige Dzhenis Ross issleduet bogatuju i slozhnuju istoriju sovetskogo baleta skvoz prizmu tvorchestva odnogo iz glavnykh vozmutitelej spokojstvija, Leonida Jakobsona.Jakobson brosal vyzov tsenzoram, preodolevaja zhestkie esteticheskie ramki statichnogo i konservativnogo sovetskogo baleta. On byl khudozhnikom protivorechij, modernistom, proizvedenija kotorogo, sozdannye v mrachnye vremena, pridali novyj smysl roli cheloveka tantsujuschego.Perevodchik: Landikhova Anna, Frolov Kirill