Harlequin Case Study Palucca Schule I

GERMANY - DRESDEN Harlequin Case study I Palucca Schule Founded in 1925 by the great Gret Palucca, in 1999 the Palucca Schule became Germany’s first independent higher school of dance. The historic building was renovated in 2007 and flanked by two new buildings in the Bauhaus style with the emphasis on light and space. The fully glazed facades are adorned with coloured frames that lend a resolutely contemporary air to the whole. Above the walkway linking the original building to the modern spaces there hangs a work in homage to the famous Palucca. Why Harlequin ? Jason Beechey, Director of the Palucca Schule: “Quite simply because they are the best products on the market, in every respect.” Type of site: Construction of a new building Architect: Storch Ehlers Partner Architekten GbR Harlequin Europe SA Number of studios: 11 rehearsal studios + 1 stage 29, rue Notre-Dame LUXEMBOURG L-2240 Luxembourg LONDON Tel. INTL +352 46 44 22 LOS ANGELES Tel. FR +352 46 44 99 PHILADELPHIA Products chosen: Harlequin LIBERTY™ sprung floor and Tel. DE +352 46 39 39 FORT WORTH Free phone 00 800 90 69 1000 SYDNEY Harlequin STUDIO™ dance floor. Fax +352 46 44 40 PARIS www.harlequinfloors.com HONG KONG info@harlequinfloors.com MADRID Photos : Rodrigo Díaz I Products The Palucca Schule dance studios are equipped with the Harlequin LIBERTY™ sprung floor and the Harlequin STUDIO™ dance floor. The Palucca Schule was seeking a multi-purpose floor combined with a comfortable and resistant surface that would be equally suitable for classical and contemporary dance. Jason Beechey’s With its smooth surface and foam backing, the Harlequin STUDIO™ dance floor choice provides extra comfort for dancers during floor or pointe practice. “I chose the Harlequin LIBERTY™ The Harlequin STUDIO™ dance floor covering was stuck with glue and hot welded sprung floor because it meets our to avoid the use of adhesive tape, providing a practical and aesthetic solution. needs perfectly. It also helps prevent injury. All the pupils and teachers are pleased with it.” Harlequin LIBERTY™ Harlequin STUDIO™ Permanent version 5 1 4 2 1 3 3 4 2 For samples and documentation dial freephone 1 18 mm birch multi-ply 1 Slip resistant surface layer 2 Elastomer blocks 2 Support layer 3 Integral tongue 3 4 Integral groove 4 Closed cell foam backings 5 ✓ Portable and permanent version ✓ Smooth surface.

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Sulle Orme Di Gret Palucca
Sinestesieonline PERIODICO QUADRIMESTRALE DI STUDI SULLA LETTERATURA E LE ARTI. SUPPLEMENTO DELLA RIVISTA «SINESTESIE» ISSN 2280-6849 Iari Iovine SULLE ORME DI GRET PALUCCA. UN EQUILIBRIO DI CONTRASTI AL TEMPO DELLA REPUBBLICA DI WEIMAR* ABSTRACT Acclamata dal pubblico e dai critici del suo tempo, Gret Palucca incarna una delle più eminenti interpreti dell’Ausdrucktanz tedesca. Allieva di Mary Wigman, la danzatrice inaugura nel 1925 la Palucca Hochschüle für Tanz a Dresda. Prendendo le distanze tanto dagli stili coreografici wigmaniani che dalle nozioni del balletto accademico – recepite dal maestro Heinrich Kröller – Palucca coniuga una esuberante creatività alla logica e sistematica esplorazione dei movimenti. Celebre per il suo atletismo, fonda un «vocabolario coreutico» basato sui salti verso l’alto e sulle estensioni delle gambe, concependo le performance sulla correlazione tra i processi emotivi e mentali, e sulla costante ricerca di contrasti tra «spinta e controspinta, tensione e distensione». L’improvvisazione e la carica energetica dei movimenti rappresentano i tratti distintivi dello stile performativo di Gret Palucca la quale, parallelamente, assorbe e coltiva le impressioni artistiche prodotte dagli esponenti dell’avanguardia del primo Novecento (Mondrian, Kandinskij, Kirchner). Il saggio, inquadrato nel contesto storico della Repubblica di Weimar, scandaglia il percorso formativo, gli ideali estetici e la maturazione del concetto del Tanz Palucca, indagando una tecnica compiuta e organica che rappresenta una tra le più significative testimonianze del fenomeno nascente della danza moderna, volta a ricostruire «l’esperienza danzante di una nuova era». Acclaimed by the public and critics of her time, Gret Palucca embodies one of the most eminent interpreters of German Ausdrucktanz.
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Expressions of Form and Gesture in Ausdruckstanz
EXPRESSIONS OF FORM AND GESTURE IN AUSDRUCKSTANZ, TANZTHEATER, AND CONTEMPORARY DANCE by TONJA VAN HELDEN B.A., University of New Hampshire, 1998 M.A., University of Colorado, 2003 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Program of Comparative Literature 2012 This thesis entitled: Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance written by Tonja van Helden has been approved for the Comparative Literature Graduate Program __________________________________________ Professor David Ferris, Committee Chair ____________________________________________ Assistant Professor Ruth Mas, Committee member ____________________________________________ Professor Jennifer Peterson, Committee member ____________________________________________ Professor Henry Pickford, Committee member ____________________________________________ Professor Davide Stimilli, Committee member Date ________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. van Helden, Tonja (Ph. D., Comparative Literature, Comparative Literature Graduate Program) Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance Thesis directed by Professor David Ferris My dissertation examines the historical trajectory of Ausdruckstanz (1908-1936) from its break with Renaissance court ballet up through its transmission into Tanztheater and contemporary styles of postmodern dance. The purpose of this study is to examine the different modes of expression as indicated by the character, form, style, and concept of Ausdruckstanz, Tanztheater and contemporary dance. Through a close analysis of select case studies, each chapter provides a critical analysis of the stylistic innovations and conceptual problems evidenced by the choreographies from each movement.
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Huxley (2017) the Dance of the Future
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Thesis Draft
!1 ! ! ! Dancing and Drawing in Trisha Brown’s Work: A Conversation Between Choreography and Visual Art Lu Shirley Dai ! ! ! ! ! Combined Senior Thesis in Dance and Art History Spring 2016 Thesis directors: L. Garafola and E. Hutchinson © Lu Shirley Dai !2 ! ! ! Table of Contents ! Preface—The First Attempt at Dancing and Drawing …………………………………………..3 Chapter One—The “Burden of History”………………………………………………………….6 Chapter Two—“A Treatment of the Body as Line” on Paper and in Space……………………..14 Chapter Three—The Drawing as a “Machine” that Makes the Art……………………………..32 Conclusion—The Body is Intellectual, and the Mind is Physical……………………………….49 List of Illustrations……………………………………………………………………………….55 Bibliography……………………………………………………………………………………..57 ! ! ! ! ! ! ! ! ! ! ! ! !3 ! ! ! ! Preface—The First Attempt at Dancing and Drawing My thesis topic originates from my interest in both choreography and visual art, and I am especially curious about the process of creating art works. What is the artist thinking? What does the mind say, and how does the body execute and transfer the information the mind sends out? What artistic approaches do artists take in the process of creation? With the intention of exploring creative processes in choreography and visual art, I look at dancing and drawing—two forms of expressions innate in our bodies and minds. Throughout the academic history of art and dance, dancing and drawing are often seen as two separate art forms. On the one hand, drawing makes shapes and figures on a two- dimensional surface while dancing concerns about the human body in a three-dimensional space. On the other, drawing is a technical practice that only requires deft skills of the artist’s hands, while dancing executes movements that involve the physical performance of the whole body.
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