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Mary Wigman, Germany’s premier dancer between the two world wars, envisioned the performer in the thrall of ecstatic and demonic forces. Widely hailed as an innovator of dance modernism, she never acknowledged her complex relationship with National Socialism. In Ecstasy and the Demon, Susan Manning advances a sociological explanation for the collaboration between German modern dancers and National Socialism. She models methods for dance studies that contextualize choreography in relation to changing sociopolitical conditions, bringing dance scholarship into conversation with intellectual trends across the humanities. The introduction to this second edition brings Manning’s groundbreaking work to bear on dance studies today and reconsiders Wigman’s career from the perspective of queer theory and globalization, further illuminating the interplay of dance and politics in the twentieth century. Susan Manning is professor of English, theater, and performance studies at Northwestern University.
Established in 1911, The Rotarian is the official magazine of Rotary International and is circulated worldwide. Each issue contains feature articles, columns, and departments about, or of interest to, Rotarians. Seventeen Nobel Prize winners and 19 Pulitzer Prize winners – from Mahatma Ghandi to Kurt Vonnegut Jr. – have written for the magazine.
Two traditionally divided strains of American dance, Modern Dance and Negro Dance, are linked through photographs, reviews, film, and oral history, resulting in a unique view of the history of American dance.
This gorgeous book presents the broad spectrum of ballet and dance historically in this country - where it has come from, what has influenced the art-form, who has been involved, and who are the present movers and shakers. It's beautiful to look at, with striking photos and ephemera, attractive poster designs, programme covers plus illustrations. There's great information and anecdotes on personalities, plus interesting 'facts' in separate breakout boxes. Its themes include the influence of overseas companies on dance in New Zealand from 1913 to the present; the advent of a national identity with the establishment of the Royal New Zealand Ballet; the emergence of modern dance in the 1930s and the contemporary dance scene today. Each chapter features a discussion on dance styles, the vigour of the artistic personalities involved and the social milieu in which they operated. A very thorough and lively examination of the dance scene in New Zealand.