Dance and Costumes

Оглавление

Elna Matamoros. Dance and Costumes

CONTENTS

INTRODUCTION

1. DANCING ON STAGE: AN INTRODUCTION

2. THE EMANCIPATION OF DANCE: COSTUMES, CHOREOGRAPHY AND ATTITUDES

3. UNVEILING THE BODY

4. THE ‘BALLERINA’, MUSE AND STAR. THE EARLY TUTUS

5. TECHNIQUE AND ROMANTIC AESTHETICS

6. THE SPANISH BOLERO SCHOOL: CHARACTERS AND COSTUMES

7. THE POINTE SHOE: EVOLUTION AND USE

8. MARIUS PETIPA’S VIRTUOSISTIC BALLETS

9. ISADORA DUNCAN’S EXPLOSION OF FREEDOM

10. DISSOLVED IN THE AIR OR MATERIALIZED INTO A ROBOT

11. BODY, SCIENCE AND GEOMETRY

12. THE CONTRIBUTIONS OF LES BALLETS RUSSES

13. NEW INSIGHTS, WAYS AND MEDIA

BIBLIOGRAPHY

LIST, LOCATION AND CREDITS*

ACKNOWLEDGEMENTS

Отрывок из книги

ELNA MATAMOROS

A HISTORY OF

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33 FOLLIOT, “Le costume comme support…,” p. 19.

34 In addition to the above-mentioned painting [fig. 2.3], from the National Gallery of Art in Washington, at least two other different versions of the same work, with a similar title: Mademoiselle de Camargo dancing; one at The Wallace Collection in London and the other at the Hermitage in St. Petersburg. In these other two, La Camargo appears without any accompanying dancer, and flanked only by musicians.

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