Expanding Horizons: Techniques of Choreo-Graphy in Nineteenth-Century Dance
2006; Taylor & Francis; Volume: 29; Issue: 2 Linguagem: Inglês
10.1080/01472520600745107
ISSN1532-4257
AutoresClaudia Jeschke, Robert Atwood,
Tópico(s)Cinema and Media Studies
ResumoClick to increase image sizeClick to decrease image size Notes 1. For Despréaux, see Flavia Pappacena, “La ‘Terpsi-choro-graphie’ di J.-E. Despréaux (1813): la trasformazione della notazione coreutica fra il XVIII e il XIX secolo,” in Chorégraphie. Studi e ricerche sulla danza, Anno 4, numero 7, Primavera 1996, pp. 23–50. An Anonymous Manuscript, Dance Book T B. 1826, was edited by Elizabeth Aldrich, Sandra Noll Hammond, and Armand Russell (Stuyvesant, N.Y.: Pendragon Press, 2000), Dance & Music Series No. 11. For Théleur, see Sandra Noll Hammond, “Letters on Dancing by E. A. Théleur.” Studies in Dance History, Vol. 2, No. 1, Fall/Winter 1990, pp. 1–6; Carol Téten, “Gavotte de Vestris, from Théleur's Letters on Dancing, 1832”, in The Gavotte: Four Notation Scores from Four Centuries, Papers of the International Congress on Movement Notation, Tel Aviv, 1984, No. 4. For Saint-Léon, see Ann Hutchinson Guest, La Vivandière Pas de Six/Choreography by Arthur Saint-Léon (Lausanne: Gordon and Breach, c.1994). For Stepanov, see Alexander Gorsky, Two Essays on Stepanov Dance Notation. Translated from the Russian by Roland John Wiley (New York: Congress on Research in Dance [c1978]). For Zorn, see Ann Hutchinson Guest, Fanny Elssler's Cachucha. (New York: Theatre Arts Books, 1981). For Bournonville, see Knud Arne Jürgensen and Ann Hutchinson Guest, The Bournonville Heritage: A Choreographic Record 1829 –1875 (London: Dance Books, 1990); Knud Arne Jürgensen and Ann Hutchinson Guest, Robert le Diable: The Ballet of the Nuns. Ballet by Filippo Taglioni. Notated by August Bournonville (London: Gordon and Breach, 1997). 2. Stephanie Jordan (ed.), Preservation Politics: Dance Revived, Reconstructed, Remade (London: Dance Books, 2001). 3. Riki Raab, Biographischer Index des Wiener Opernballetts von 1613 bis zur Gegenwart (Wien: Hollinek, 1994), pp. 343–4). 4. See pp. 56, 58, 63–5, 70. 5. Intendanz Hoftheater Personalakten, Nr. 672. 6. “H. Justamant,” in Dossier d'Artiste, Bibliothèque National de France, Musée de l'Opéra. 7. Robert Atwood, “The Development of the Raked Proscenium Stage, and Its Influence on the Evolution of Classical Ballet,” master's thesis, Florida State University, 1992. 8. Lisa C. Arkin, “The Mazurka and the Krakovia: Two Polish National Dances in Michel St.-Léon's Dance Notebooks, 1829–1830,” in: Proceedings of Society of Dance History Scholars Annual Conference, Barnard College, New York, 1997, p. 134.
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