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Bodies, statues, and machines: Dance...

Kennel, Sarah Alexandra.

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Bodies, statues, and machines: Dance and the visual arts in France, 1900--1925 (Isadora Duncan, Emile-Antoine Bourdelle, Vaslav Nijinsky, Fernand Leger).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Bodies, statues, and machines: Dance and the visual arts in France, 1900--1925 (Isadora Duncan, Emile-Antoine Bourdelle, Vaslav Nijinsky, Fernand Leger)./
作者:	Kennel, Sarah Alexandra.
面頁冊數:	396 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-02, Section: A, page: 0321.
Contained By:	Dissertation Abstracts International65-02A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3121544
ISBN:	0496688952

Bodies, statues, and machines: Dance and the visual arts in France, 1900--1925 (Isadora Duncan, Emile-Antoine Bourdelle, Vaslav Nijinsky, Fernand Leger).
Kennel, Sarah Alexandra.

Bodies, statues, and machines: Dance and the visual arts in France, 1900--1925 (Isadora Duncan, Emile-Antoine Bourdelle, Vaslav Nijinsky, Fernand Leger). - 396 p.

Source: Dissertation Abstracts International, Volume: 65-02, Section: A, page: 0321.

Thesis (Ph.D.)--University of California, Berkeley, 2003.

During the first three decades of the twentieth century, dance emerged as one of modernism's most striking achievements. Exploring the fluid exchange between artists and choreographers and between representations of the body and representations through the body, this dissertation argues that neoteric forms of dance practice furnished early twentieth-century artists with new modes of conceiving and expressing relationships between embodiment and image.

ISBN: 0496688952Subjects--Topical Terms:

635474
Art History.

Bodies, statues, and machines: Dance and the visual arts in France, 1900--1925 (Isadora Duncan, Emile-Antoine Bourdelle, Vaslav Nijinsky, Fernand Leger).
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245 1 0 $a Bodies, statues, and machines: Dance and the visual arts in France, 1900--1925 (Isadora Duncan, Emile-Antoine Bourdelle, Vaslav Nijinsky, Fernand Leger).
300 $a 396 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-02, Section: A, page: 0321.
500 $a Chair: Timothy J. Clark.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2003.
520 $a During the first three decades of the twentieth century, dance emerged as one of modernism's most striking achievements. Exploring the fluid exchange between artists and choreographers and between representations of the body and representations through the body, this dissertation argues that neoteric forms of dance practice furnished early twentieth-century artists with new modes of conceiving and expressing relationships between embodiment and image.
520 $a Chapter One analyzes the ways in which Isadora Duncan manipulated the forms and associated meanings of classical art as a strategy to elevate the status of her choreographic practice and in so doing, offered a revitalized version of classicism at a moment when the classical tradition in the visual arts seemed to have lost its bearings.
520 $a Chapter Two focuses on French sculptor Emile-Antoine Bourdelle, who based his designs for the sculpted decorative friezes on the exterior of the Theatre des Champs-Elysees in Paris after his drawings of Duncan. Tracing the complex passage from dance to drawing to sculpture, I argue that Bourdelle's engagement with Duncan's dance formed part of a broader attempt to create a viable art social in which the antinomies of public and private and classical and modern might be resolved.
520 $a Chapters Three and Four examine the explosive combination of modernism and "primitivism" in Vaslav Nijinsky's choreography for Afternoon of a Faun (1912) and The Rite of Spring (1913). Situating the body between a pre-social atavism and a fragmented, automatistic modernity, Nijinsky's choreography simultaneously articulated the desire for---and the failure of---a deeply-held fantasy of returning to bodily and cultural origins via the dance.
520 $a While both modern dance and its representations in the visual arts served as metaphors for the tenuous position of the individual in pre-war French culture, new forms of dance participated in a wider project of cultural reconstruction in interwar France. In this vein, chapter Five examines how Fernand Leger's representations of the body in his designs for the Ballets Suedois' Skating Rink (1922) articulated, in terms particular to the interwar period, the broader tensions between primitivism and mechanization which had haunted the corporeal imagination of early twentieth-century modernism.
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