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Khitrova D: Impossible Project

Impossible Project

The Story of Russian Ballet and Its Survival

Moira Shearer

The second edition of Frederick Ashton's Ballets: Style, Performance, Choreography adds two further ballets to this ground-breaking study of Frederick Ashton's choreography. It not only examines the contribution these ballets made to twentieth century dance art, but also presents a detailed account of Ashton's work and dances, demonstrating his remarkable choreographic and artistic talent. Having danced with the Royal Ballet Company during the years Ashton was Director, author Geraldine Morris also draws on her years as an academic in the field.

The second edition of Frederick Ashton's Ballets: Style, Performance, Choreography adds two further ballets to this ground-breaking study of Frederick Ashton's choreography. It not only examines the contribution these ballets made to twentieth century dance art, but also presents a detailed account of Ashton's work and dances, demonstrating his remarkable choreographic and artistic talent. Having danced with the Royal Ballet Company during the years Ashton was Director, author, Geraldine Morris also draws on her years as an academic in the field. 

As well as highlighting the dances, the book explores the contribution made by Ashton's collaborators, both designers and musicians. Central is the issue of identity and how style can be retained in dance, despite alterations in training. It considers the problem of how the values of ballet training change, thereby affecting contemporary performances of his works. Through eight works Morris examines the various sources that Ashton used, whether they were dances with words, or those influenced by dancers' movement style, jazz dance, abstraction, mysticism, or narrative. With this new material, the second edition makes a significant contribution to dance scholarship.

Style, Performance, Choreography

Frederick Ashton's Ballets

Routledge Contemporary China Series

Reimagining Identity and the Self Beyond and Without China

Chinese Diasporic Writers and Artists

Routledge Advances in Theatre & Performance Studies

This book is a seminal seated dance guidebook for global dance and health practitioners. Seated dance is an inclusive and diverse form of physical activity, suitable for all, regardless of age or disability.

Take Your Seat!

The Practitioner’s Essential Guide to Teaching Seated Dance Across the Lifespan

As principal dancer with Montréal-based company La La La Human Steps, Louise Lecavalier was among the most iconic dancers of her generation: strong, muscled, androgynous, punk. Moving with spectacular speed, precision and an athletic physicality, her commitment to dancing would ultimately transform the potential of what bodies within Western concert dance could do.
 
 Drawing on extensive oral history accounts and archival material, the book follows Lecavalier's impact on the evolving aesthetic of La La La Human Steps, via the development of its early repertoire, and offers the first sustained account of her 1982 solo Non, Non, Non, je ne suis pas Mary Poppins. More, it tracks diverse influences and sources for the repertoire, complicating understandings of nationalism in Québec, while marking the significance of the collective in generating new aesthetics. What emerges is a portrait of the dancer as artist, icon, labourer and mover of cultural discourse. 
Featuring an expansive set of photos and ephemera, including performance documentation by photographer/activist Linda Dawn Hammond, production images by choreographer Édouard Lock and street photography by key players in the 1980s Montréal scene, this study offers a critical and celebratory appraisal of Lecavalier's unique contribution and the role of the dancer more broadly as a producer of culture.

As principal dancer with Montréal-based company La La La Human Steps, Louise Lecavalier was among the most iconic dancers of her generation: strong, muscled, androgynous, punk. Moving with spectacular speed, precision and an athletic physicality, her commitment to dancing would ultimately transform the potential of what bodies within Western concert dance could do.
 
 Drawing on extensive oral history accounts and archival material, the book follows Lecavalier’s impact on the evolving aesthetic of La La La Human Steps, via the development of its early repertoire, and offers the first sustained account of her 1982 solo Non, Non, Non, je ne suis pas Mary Poppins. More, it tracks diverse influences and sources for the repertoire, complicating understandings of nationalism in Québec, while marking the significance of the collective in generating new aesthetics. What emerges is a portrait of the dancer as artist, icon, labourer and mover of cultural discourse. 
Featuring an expansive set of photos and ephemera, including performance documentation by photographer/activist Linda Dawn Hammond, production images by choreographer Édouard Lock and street photography by key players in the 1980s Montréal scene, this study offers a critical and celebratory appraisal of Lecavalier’s unique contribution and the role of the dancer more broadly as a producer of culture.

Dance, Labor, Culture

Louise Lecavalier

A terrible accident forces Natalia to make a devastating choice about her future as a dancer, in this sweeping novel of love and redemption

A Reese's Book Club Pick

City of Night Birds

Forms of Drama

"Provides a clear guide to Kathakali, exploring the origin, evolution and characteristics of the form today and the ways it has adapted for a 21st-century audience. This introduction to this mode of dance drama traces the distinctive features of Kathakali - which is sometimes tightly structured with fixed conventions and sometimes fluid enough to incorporate flights of fancy. It charts how the form has changed over the centuries and assesses its cultural legacy today. It also includes translations of extracts from poems, plays and performance manuals, as well as interviews with actors and cultural historians"--

Authored by a leading exponent of the form, this book provides a clear guide to Kathakali, exploring its origin, evolution, and characteristics and the ways it has adapted for a 21st-century audience. Kathakali is an introduction to this vibrant mode of dance drama, which comes from Kerala in southwest India and combines poetry, music, rhythm, and dance to represent stories of gods, demons, and humans. Originating in the latter part of the 16th century, today Kathakali commands attention and involves practitioners from around the world. Largely drawing its stories from the Ramayana and the Mahabharata, it integrates music, dance, grand makeup, and costume to evoke the epic universe. This book illuminates how Kathakali combines associated literary texts, performative conventions, and practices from local and pan-Indian contexts. The actors use their whole body—deploying complex dance movements, interpretive gestures, and highly developed facial expressions—as a site to depict, elaborate, and interpret action. Encapsulating the world of Kathakali, its performative grammar, and the aesthetic theories that underpin it, this book examines its history as one of continual change. The book traces the distinctive features of Kathakali, which is sometimes tightly structured with fixed conventions, and sometimes fluid enough to incorporate imaginative flights of fancy. It assesses Kathakali’s cultural legacy and charts how the form has changed over the centuries. It also includes translations of extracts from poems, plays, and performance manuals, as well as interviews with actors and cultural historians.

Tradition, Innovations and Transitions in the Dance Drama of Kerala

Kathakali

This volume investigates the contributions and achievements of the physically disabled dancer while at the same time challenging and recognizing the inherent inequities in the field of integrated dance in the UK which currently places greater emphasis on the learning-disabled performer.

The Physically Disabled Dancer and the Affirmative Model of Disability

The Routledge Companion to Choreomusicology: Dialogues in Music and Dance is a distinguished collection of essays by leading scholars presenting research that redefines and rethinks the question of what dance and music are, together and apart, and which promotes new ideas and voices in the discipline.

Dialogues in Music and Dance

Choreomusicology

A Search for Hidden Legacies

(Post)Socialist Dance

Unmaking Contact interrogates "contact" through the examination of South Asian aesthetics, bodies, discourses, and philosophies on physical and intersubjective touch and relations within dance, and shifting its conceptualisation beyond contact improvisation.

Unmaking Contact interrogates “contact” through the examination of South Asian aesthetics, bodies, discourses, and philosophies on physical and intersubjective touch and relations within dance, and shifting its conceptualisation beyond contact improvisation.

Choreographing South Asian Touch

Unmaking Contact

"Expertly choreographed and long overdue, this is the nuanced reckoning ballet needs, ballerinas deserve, and all feminists should note." -Oprah DailyAn incisive exploration of ballet’s role in the modern world, told through the experience of the author and her classmates at the most elite ballet school in the country: the School of American Ballet.Growing up, Alice Robb dreamed of becoming a ballet dancer. But by age fifteen, she had to face the reality that she would never meet the impossibly high standards of the hyper-competitive ballet world. After she quit, she tried to avoid ballet—only to realize, years later, that she was still haunted by the lessons she had absorbed in the mirror-lined studios of Lincoln Center, and that they had served her well in the wider world. The traits ballet takes to an extreme—stoicism, silence, submission—are valued in girls and women everywhere.Profound, nuanced, and passionately researched, Don’t Think, Dear is Robb’s excavation of her adolescent years as a dancer and an exploration of how those days informed her life for years to come.As she grapples with the pressure she faced as a student at the School of American Ballet, she investigates the fates of her former classmates as well. From sweet and innocent Emily, whose body was deemed thin enough only when she was too ill to eat, to precocious and talented Meiying, who was thrilled to be cast as the young star of the Nutcracker but dismayed to see Asians stereotyped onstage, and Lily, who won the carrot they had all been chasing—an apprenticeship with the New York City Ballet—only to spend her first season dancing eight shows a week on a broken foot.Theirs are stories of heartbreak and resilience, of reinvention and regret. Along the way, Robb weaves in the myths of famous ballet personalities past and present, from the groundbreaking Misty Copeland, who rose from poverty to become an icon of American ballet, to the blind diva Alicia Alonso, who used the heat of the spotlights and the vibrations of the music to navigate space onstage. By examining the psyche of a dancer, Don’t Think, Dear grapples with the contradictions and challenges of being a woman today.

"Expertly choreographed and long overdue, this is the nuanced reckoning ballet needs, ballerinas deserve, and all feminists should note." -Oprah DailyAn incisive exploration of ballet’s role in the modern world, told through the experience of the author and her classmates at the most elite ballet school in the country: the School of American Ballet.Growing up, Alice Robb dreamed of becoming a ballet dancer. But by age fifteen, she had to face the reality that she would never meet the impossibly high standards of the hyper-competitive ballet world. After she quit, she tried to avoid ballet—only to realize, years later, that she was still haunted by the lessons she had absorbed in the mirror-lined studios of Lincoln Center, and that they had served her well in the wider world. The traits ballet takes to an extreme—stoicism, silence, submission—are valued in girls and women everywhere.Profound, nuanced, and passionately researched, Don’t Think, Dear is Robb’s excavation of her adolescent years as a dancer and an exploration of how those days informed her life for years to come.As she grapples with the pressure she faced as a student at the School of American Ballet, she investigates the fates of her former classmates as well. From sweet and innocent Emily, whose body was deemed thin enough only when she was too ill to eat, to precocious and talented Meiying, who was thrilled to be cast as the young star of the Nutcracker but dismayed to see Asians stereotyped onstage, and Lily, who won the carrot they had all been chasing—an apprenticeship with the New York City Ballet—only to spend her first season dancing eight shows a week on a broken foot.Theirs are stories of heartbreak and resilience, of reinvention and regret. Along the way, Robb weaves in the myths of famous ballet personalities past and present, from the groundbreaking Misty Copeland, who rose from poverty to become an icon of American ballet, to the blind diva Alicia Alonso, who used the heat of the spotlights and the vibrations of the music to navigate space onstage. By examining the psyche of a dancer, Don’t Think, Dear grapples with the contradictions and challenges of being a woman today.

On Loving and Leaving Ballet

Don't Think, Dear

Impossible Project

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