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Dance and Literature: Interwoven and Untangled

Posted By Shaun Franklin-Sewell, Sunday, July 28, 2013
A CALL FOR RESEARCH ARTICLES
to be published in
DANCE CHRONICLE: STUDIES IN DANCE AND THE RELATED ARTS 

** Dance and Literature: Interwoven and Untangled ** 

Dance and literature weave the stuff of everyday human life—movement and language—into art.  They share the common goal of communication, embracing processes of questioning, theme-formation, exploration, investigation, articulation, feedback, and revision. Yet their materials, forms, and domains of expression and response are often distinct. This special theme issue will explore how these textures and threads are woven into both literary and choreographic works, and how patterns of expression shift, highlight, or obscure the partnering of these forms. We invite research submissions to a special issue of Dance Chronicle devoted to the theme, "Dance and Literature: Interwoven and Untangled,” to be edited by Lynn Matluck Brooks and Joellen A. Meglin. Papers might address such subjects as those listed below and other related topics proposed by authors: 

  • Particular literary works have been sources of choreography. How does analysis of the relationship between a work of literature and its adaptation to dance reveal ways that these expressions overlap and diverge?
  • Dance has played a role in many works of literature and poetry (think of William Butler Yeats, Willa Cather, or Jane Austin, or Gustave Flaubert for example). What makes dance a pivotal element in literary unfolding?
  • Dancers have written their own manifestos, letters, and, more recently, blogs and websites. How do dancers think as writers?
  • Some choreographers engage writing in the creative process—their own and that of their collaborators (dancers, musicians, and others). What are the functions and results of such writing-to-dancing practices?
  • Since the early twentieth century, dancers have explored use of text in choreography. What role does text play for dance in these cases? What does it add to a dance? What does it say that dance alone cannot? How do audiences respond to this admixture?
  • The roots of Western ballet lie in musical-theatrical forms with written scenarios or libretti. What led to separation of dance from this theatrical/literary context? What has it gained, and what lost, as a result? Does this context endure in some form?
  • Dance is often referred to as a language. What makes it like or unlike verbal language? Is this analogy appropriate? Is it misleading?
  • Can modes of literary analysis be applied to dance analysis? Can dance-specific methodologies help us to understand embodiment in literary works?  

Authors may wish to consider Taylor & Francis’s capacity of publishing material electronically concurrently with the printed version, so that readers can follow digital recordings of music and dance (examples) referred to in the article text. All manuscripts will receive double blind peer review.  Submissions will be accepted at any time before Mar. 1, 2014.  Send manuscripts or inquiries to Lynn Matluck Brooks at lynn.brooks@fandm.edu or Joellen Meglin at jmeglin@temple.edu. Style and formatting guidelines are available as "Instructions for Authors” at: http://www.tandf.co.uk/journals/journal.asp?issn=0147-2526&linktype=44

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