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Albion's Dance

British Ballet During the Second World War
BuchGebunden
238 Seiten
Englisch
Oxford University Presserschienen am01.09.2016
When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during theenforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace tothe soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players- dance critics, male and femaledancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.mehr
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BuchGebunden
EUR137,50
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EUR60,99
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EUR78,49

Produkt

KlappentextWhen the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during theenforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace tothe soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players- dance critics, male and femaledancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress.
Details
ISBN/GTIN978-0-19-934762-9
ProduktartBuch
EinbandartGebunden
FormatGenäht
Erscheinungsjahr2016
Erscheinungsdatum01.09.2016
Seiten238 Seiten
SpracheEnglisch
MasseBreite 157 mm, Höhe 239 mm, Dicke 25 mm
Gewicht499 g
Artikel-Nr.61065024

Inhalt/Kritik

Inhaltsverzeichnis
PrefaceIntroductionChapter One: The British Ballet and its Critics at the Onset of WarChapter Two: Making Ballet Central to British Wartime ExperienceChapter Three: The Dancers' ExperienceChapter Four: Propaganda, Publicity, and Social Pressure: Ballet in Discourse and DeedChapter Five: The Function of the Classics in Wartime Chapter Six: Programming the RepertoireChapter Seven: British Choreography during the WarAfterwordIndexmehr

Autor

Karen Eliot danced in the Merce Cunningham Dance Company during the 1980s. She is a Professor in the Department of Dance at The Ohio State University where she has taught for over 20 years. Her books include Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (2007), and the edited anthology, Dance on its Own Terms: Histories and Methodologies (2013) with co-editor Melanie Bales. She serves on the advisory board of Dance Chronicle. Her articles appear in: Dance Chronicle; Dance Gazette; The American Society for Eighteenth-Century Studies Book Reviews Online; and Dance Research Journal.