Digital Dance Criticism: Screens as Choreographic Apparatus by Kate Mattingly

Subjects: “…dance criticism…”
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Anarchic dance [digital video disc] / by Aggiss, Liz, Cowie, Billy, Bramley, Ian, 1968-

Subjects: “…Dance criticism…”

Anarchic dance / by Aggiss, Liz, Cowie, Billy, Bramley, Ian, 1968-

Subjects: “…Dance criticism…”

Narcyz zakochany sam w sobie by Jacek Lipiński

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Discipline “Choreographic Criticism” in the System of Training of Dance Art Specialist in Higher Education Institutions in Ukraine by Alina Pidlypska

“…The scientific novelty consists in analyzing the current state of dance criticism in Ukraine and the world, outlining the content-thematic circle of the discipline “Criticism of Choreography” in the system of training a specialist in dance art in institutions of higher education in Ukraine. …”
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Processi di visualizzazione poetica: descrizione e immaginazione nella critica di danza del XIX secolo by Christina Thurner

“…This essay addresses the interest in the discourse of dance criticism within the French feuilleton of the 19th Century. …”
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KRITIK UNTUK KRITIK TARI†MINAT YANG TERJAUHI OLEH PENGGIAT TARI by Eko Supriyanto

“…Dance critic in the performing arts becoming a rare field, which people in performing arts are more concern on keen observers and practitioners. …”
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Per un’edizione critica della danza: riflessioni metodologiche e applicative by Elena Randi

“…The article aims at describing how a dance critical edition can be produced and how that of Marius Petipa-Riccardo Drigo’s Harlequinade (St. …”
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Pratiche del classico: Paolo Fabbri e la danza italiana negli anni Trenta by Giulia Taddeo

“…Dance critic and impresario, Paolo Fabbri makes a short but intense journey in the field of Italian dance during the fascist period. …”
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On Relations between Dance and Movement: reflections about different meanings of movement and dance by Pedro Penuela (Universidade de São Paulo – USP, São Paulo/SP, Brazil)

“…This work resumes some ideas proposed by the dance critic and scholar André Lepecki (2008), in order to reflect about the limits of a refusal of movement as a rupture with modernity and with a certain notion of choreography. …”
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On Relations between Dance and Movement: reflections about different meanings of movement and dance by Pedro Penuela

“…This work resumes some ideas proposed by the dance critic and scholar André Lepecki (2008), in order to reflect about the limits of a refusal of movement as a rupture with modernity and with a certain notion of choreography. …”
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Dance, body and memory: the Original Ballet Russe and its three seasons in Rio de Janeiro by Beatriz Cerbino

“…Guided by the methodological procedures of cultural history, I use dance critic Jaques Corseuil’s reviews as key sources. …”
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Tracce di un’esperienza, memoria di uno spettacolo by Susanne Franco

“…The essay proposes a historical-theoretical reflection on Pina Bausch’s Café Müller (1978) and introduces and contextualizes the texts commissioned to Italian dance critics and scholars of different generations for the Café Müller Installation set up in November 2018 at La Lavanderia a Vapore (Collegno) as part of the Maratona Bausch project. …”
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“The Great Waltz” Ballet in the Production of Mykola Trehubov by Tetiana Churpita

“…Observers praised the diverse choreographic language of the ballet, consisting of duets, trios, individual variations, and mass dances. Critics noted the subtlety of M. Trehubov’s taste, his excellent ability to build choreographic dialogues and convey complex human feelings in the language of dance. …”
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The Balanchine Dilemma: “So-Called Abstraction” and the Rhetoric of Circumvention in Black-and-White Ballets by Tamara Tomić-Vajagić

“…His influential words found response in dance critical writing, where the term “abstract” continued to circulate, but was often applied in vague ways, such as “so-called abstraction.” …”
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On Pina Bausch’s Legacy: an interview with Dominique Mercy by Dominique Mercy, Marcelo de Andrade Pereira

“…Perhaps no other author has better characterized the work of Pina’s dancers – and, therefore, the artist’s herself – than José Sasportes – a remarkable Portuguese dance critic and historian. This brief observation of Sasportes, made in a text entitled Acção para bailarinos [Action for dancers], and regarding an event held in Lisbon in honor to Pina Bausch, allows to perceive in quite clearly the meaning of the experience and legacy of a remarkable artist, that are summarized in the figure of one of her greatest collaborators, Dominique Mercy. …”
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