Doris Humphrey: Malsamoj inter versioj

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(Nova paĝo kun '{{Informkesto homo}} '''Doris Batcheller HUMPHREY''' (17a de oktobro, 1895 – 29a de decembro, 1958) estis dancistino kaj koreografino de la komenco de la 20a jarcento. Kun siaj...')
 
{{Informkesto homo}}
'''Doris Batcheller HUMPHREY''' (17a de oktobro, 1895 – 29a de decembro, 1958) estis dancistino kaj koreografino de la komenco de la 20a jarcento. Kun siaj samtempuloj [[Martha Graham]] kaj Katherine Dunham, Humphrey estis unu el la dua generacio de pioniroj en [[moderna danco]] kiu sekvis la antaŭlojn – kiel [[Isadora Duncan]], [[Ruth St. Denis]] kaj Ted Shawn – en la esploro de la uzado de spiraj kaj disvolvigaj teknikoj kiuj estas ankoraŭ aktuale instruataj. Ĉar multaj el ŝiaj verkoj estis komentitaj, Humphrey plue estas lernata, studita kaj ludita.
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In 1928, Humphrey and [[Charles Weidman]], who had worked closely with Humphrey, left the Denishawn School and moved to New York City. Along with Humphrey and Weidman, [[Martha Graham]] also rebelled against the Denishawn establishment during this time. Humphrey and Graham separately developed new ideas about the core dynamics of dance movement that eventually formed the basis of each of their techniques.<ref name="ReferenceA">Au, Susan. ''Ballet and Modern Dance''. New York: Thames & Hudson, Ltd.</ref>
 
InEn 1928, Humphrey andkaj [[Charles Weidman]], whokiu hadestis workedlaborinta closely withkun Humphrey, leftlasis thela lernejon Denishawn Schoolkaj andtranslokiĝis movedal to New York City[[Novjorko]]. Along withKun Humphrey andkaj Weidman, ankaŭ [[Martha Graham]] alsoribelis rebelledkontraŭ againstla thelernejon Denishawn establishmentdum duringtiu this timeepoko. Humphrey andkaj Graham separately developedaparte newdisvolvigis ideasnovajn aboutideojn thepri corela dynamicskerna ofdinamiko dancede movementdancomovado thatkio eventuallyfinfine formedformis thela basisbazon ofde eachĉiuj ofel theirsiaj techniquesteknikoj.<ref name="ReferenceA">Au, Susan. ''Ballet and Modern Dance''. New York: Thames & Hudson, Ltd.</ref>
Humphrey’s theory explored the nuances of the human body's responses to gravity, embodied in her principle of "fall and recovery". She called this "the arc between two deaths". At one extreme, an individual surrenders to the nature of gravity; at the other, one attempts to achieve balance. Through the fall and recovery principle, Humphrey is able to illustrate emotional and physical climax of struggling for stability and submitting to the laws of gravity.<ref name="ReferenceA"/>
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Humphrey’sLa theoryteorioj exploredde theHumphrey nuancesesploris ofla thenuancojn humande body'sla responsesreagoj tode gravityla homa korpo al la [[gravito]], embodied in her principle of "fall and recovery". She called this "the arc between two deaths". At one extreme, an individual surrenders to the nature of gravity; at the other, one attempts to achieve balance. Through the fall and recovery principle, Humphrey is able to illustrate emotional and physical climax of struggling for stability and submitting to the laws of gravity.<ref name="ReferenceA"/>
 
Her choreography from these early years includes ''Air for the G String'', ''Water Study'', ''Life of the Bee'', ''Two Ecstatic Themes'', and ''The Shakers''. Unlike the Denishawn approach in choreography, finding inspiration from abroad, Humphrey sought inspiration from within her home, America. ''The Shakers'', about the 18th century American religious group, is a notable example of finding inspiration from America.<ref name="ReferenceA"/>
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