Prominent dance critic Arlene Croce wrote for The New Yorker during the 1970s, '80s and '90s. Through more than 200 critiques in that magazine, she confirmed a classical aesthetic framework for dance, influencing the work of numerous contemporary critics as well as the tastes of audiences. This book explores that framework and provides an interpretive analysis of the biographical, professional and historical elements that contributed to the context of Croce's work. Topics include Croce's predecessors in dance criticism, relevant twentieth-century contemporaries and the journalistic philosophy of The New Yorker. Providing 10 of Croce's essays in their entirety, the author discusses the three specific elements of artistic excellence that Croce consistently used in her evaluations: sympathetic musicality, Apollonian craftsmanship and the enlivening force of tradition. Special attention is given to the literary and rhetorical qualities of Croce's work. Finally, appendices offer a detailed subject breakdown of topics in Croce's essays, listing (by frequency of appearance) dance companies, dancers, choreographers, dance styles, ballets, and themes.Ita#39;s like waiting for someone to get oao the phone and back to conversation.... Nowadays, concert dancers spin for the sake of spinning, as ballet dancers turn pirouettes. But, unlike a classical pirouette, a dervish spin has no reality as bodily anbsp;...
|Title||:||The Dance Criticism of Arlene Croce|
|Author||:||Marc Raymond Strauss|
|Publisher||:||McFarland - 2005-10-06|