The general theory of dancing

Παρουσίαση

The author has in mind dancers as his primary readers, and he knows they much prefer dancing to reading, especially reading theory. Before they lose interest, though, and leave the book aside, they can skim through it. In a nut shell, the theory is found in the Contents - a one-minute theorist can quit after reading pages 7 and 8. He can join a casual conversation after going through some of the Components. Occasions is next in the order of practical utility, and after that it is a question of taste. Following the linear development from the beginning to the end of the book is for advanced readers.
Students will have a template for organizing their project. Practitioners will see how their cherished genre of dance fits into the entire spectrum. Researchers will be reminded of elements they might overlook in their study. Scientists can benefit from an approach that is down-to-earth, not based on a particular dance or a country, or on only one academic discipline - a global theory they can adopt wholly or partly, or prove wrong.
Most artists do not care for theory, quite understandably. (a) They do not need it in everyday practice. (b) It is time-consuming, serious thinking needs as much time as serious practice. (c) Artists feel exceptional and abhor frames; theory is generalizing and loves frames. (d) Artists are subjective and focus on expressing themselves, theory is based on detachment and objectivity. [...] (From the publisher)

Περιεχόμενα

Introduction
Classifications
Theory
Definitions
Assumptions
Method
CATEGORIES
Culture
Urban / Rural
Professional / Amateur
OCCASIONS
Informal
Learning
Public
Street
Festival
Passage
Permissive
Show
Stage
Competition
Therapy
Worship
Other occasions
COMPONENTS
Names
People
Sounds
Moves
Holds
Patterns
Objects
Script
ASPECTS
Bibliography
Economics
Education
Motives
Movements
Notions
Origins
Politics
Recreation
Religion
Sexuality
Sport
APPENDIX
Typology
The future
The dance and me