No Fixed Points: Dance in the Twentieth Century

By Nancy Reynolds and Malcolm McCormick

Book Overview

The definitive history of twentieth-century theatrical dance, enhanced with more than 200 exceptional photographs This book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century.

• Format: Hardcover
• Language: English
• ISBN: 0300093667
• ISBN13: 9780300093667
• Release Date: November 2003
• Publisher: Yale University Press
• Length: 928 Pages
• Weight: 4.50 lbs.
• Dimensions: 1.9" x 7.8" x 9.7"

Customer Reviews

Superb

Dance, in whatever form, is a human activity that is usually done vertically, albeit with occasional (and deliberate) falls to the floor that are recovered with skill and grace. And to appreciate dance fully one must do so vertically, and revile in the accompanying overdoses of perspiration that are liquid proof of its exertions. But one can also appreciate dance from a more intellectual viewpoint, from the comfort of the armchair: as a researcher or as a spectator, as a reader or as a viewer. This book, thick and massive, and packed full of fascinating insights and information, will definitely be of utility to those of the former class. It is a book that must be read cover to cover, as its literary patterns conform to an organized choreography. Anyone who is heavily involved in dance, either as a professional dancer, a historian, or as a choreographer will have some preconceptions of the history of dance. The content of this book will no doubt challenge some of these preconceptions. In many instances it offers viewpoints, along with references that seem to be contrary to accepted wisdom. For example, it has been asserted in many works that modern dance in America began as a rebellion against ballet, against its rigidity and insistence on structure. Certainly there is anecdotal evidence for this belief, but the authors paint a picture that is somewhat more complicated. Ballet, they say, at least high quality ballet, was not available at the time, and dance in general was viewed as `virtual prostitution'. Readers will also get introduced to a lot of figures in dance that may be unknown to them, such as Maud Allan, Loie Fuller, Leonid Massine, Nikolai Semenoff, Hans von Manen, and Jiri Kylian. But the usual suspects, such as Isadora Duncan, Serge Diaghilev, Anna Pavlova, Mary Wigman, Ruth St. Denis, George Balanchine, Martha Graham, Doris Humphrey, Vaslav Nijinsky, Charles Weidman, Ted Shawn, Twyla Tharp, Robert Joffrey, Merce Cunningham, and Mikhail Baryshnikov are all discussed in great detail. In addition, it is not just a book on the history of twentieth-century dance in America and Europe, for the authors also discuss this history in Japan and Russia. The book is also full of exquisite photos. It is clear from the reading of the book that the choreographers of the twentieth century had very strong personalities and had their own idiosyncratic views of the nature and philosophy of dance. St. Denis for example held that "dance begins in consciousness, not in the body"; Maud Allan that "there should be nothing to mar the rhythmic sense of continuous harmonious expression"; Isadora Duncan spoke of her ability to "evoke movement out of the well-springs of experience"; and Rudolf Laban spoke of dance being a projection of the deeper levels of the human psyche and that dance "contains the gift of ethical understanding". All revolution and change is brought about by driven individuals who hold to their own vision of what should be. It is also

Fantastic Dance History Book

"No Fixed Points" is by far the finest dance history book on the market. Ms. Reynolds is brilliant in her observations, thoroughly researched, technically accurate on every point, insightful, succint, and (when necessary) hysterical. Don't let the size intimidate you, it is a page turner, and at times, a true scorcher. Ms. Reynolds literally choreographs the full spectrum of what was 20th century dance: no stone was left unturned. Most remarkable, though, was her ability to just suck you in where you never wanted to leave. The only negative is that the reader can only envision the events, rather than experience then, BUT, through Ms. Reynolds superb ability, the 2nd hand / vicarious experience(s) are amazingly satisfying.