Download e-book for kindle: Oeuvres II by Chebyshev P.L.

By Chebyshev P.L.

Show description

Read or Download Oeuvres II PDF

Similar arts books

Read e-book online Origamido: The Art of Paper Folding PDF

Translated from eastern as "the approach, via paperfolding," Origamido is a lifestyle and of layout. greater than colourful, folded paper cranes and straightforward, yet captivating animals and toys, Origamido is lively creativity via paper folding. This e-book offers a fascinating selection of the world's Origamido, masterworks of origami by way of many of the most interesting designers and paper folders dwelling at the present time.

Download e-book for kindle: Arts and Technology: Third International Conference, ArtsIT by Andrew Quitmeyer, Michael Nitsche, Ava Ansari (auth.),

This ebook constitutes the completely refereed complaints of the 3rd overseas convention on Arts and know-how, ArtsIT 2013, held in Milano, Bicocca, Italy, in March. the nineteen revised complete papers provided have been conscientiously chosen and reviewed from 31 submissions and are equipped in topical sections on: artwork and know-how in motion, song and know-how in motion, reflecting on artwork and know-how, knowing the creative perform, and on the limitations.

Additional info for Oeuvres II

Sample text

As she dances the priests feel that there is something strange about her. She changes costumes during the dance and with each change the priests grow more fright­ ened. ” 1 The journalist’s question was this: “ This is what the program says but from what I could see she didn’t seem to be­ come anything at all like a serpent, and she w asn’t particularly frightening either. ” O f course, I thought to myself, this is the way a Westerner would look at it. Perhaps Musume D ojoji would have been more enjoyable had it been a dance drama in which the dramatic devel­ opment and changes in the character’s psychology had been as clear as they were in the program notes.

The travel scene, the beautiful dance, the bewitching of the young priests, the revelation of the dancer’s true serpent identity as she leaps up into the bell— all this dram atic story is the mere fram ew ork for a K abuki dance. On stage from the michiyuki (travel dance) to the suzudaiko (tamborine) section and right on up to the kaneiri (entry into the bell), Musume D ojoji consists of a series of virtually independent dances. It would be fair to say that to the observing eye there is no obvious dram atic develop­ ment.

To start with my conclusion, it seems to me that it boils down to the presence or absence of a dramatic storyline. Because the issues in­ volved have to do with the essence of Kabuki as theatre, I would like to clarify this with a few anecdotes. First, on the subject of dance, why w asn’t Musume D ojoji well received? After exam ining the issue from various perspectives, I came to the conclusion that the main reason is that its dram atic component is extremely weak. The dance’s source, the N oh play D o joji, is based on the well-known legend o f Anchin and Kiyohime and is dramatically well constructed.

Download PDF sample

Rated 4.33 of 5 – based on 15 votes