|
|
|
x | |
| Foreword |
|
xii | |
| Acknowledgements |
|
xiv | |
| Introduction |
|
1 | (12) |
|
1 Without light there is no shadow |
|
|
13 | (27) |
|
|
|
13 | (1) |
|
|
|
14 | (11) |
|
A brief history of dance lighting |
|
|
14 | (4) |
|
Pioneer choreographers/lighting designers |
|
|
18 | (4) |
|
Partnerships between choreographers and lighting designers |
|
|
22 | (3) |
|
Why, how, and what shadow |
|
|
25 | (8) |
|
Research questions and aims of the study on shadow |
|
|
25 | (1) |
|
The iterative-cycle method and active imagination |
|
|
26 | (3) |
|
Key terms of the research |
|
|
29 | (4) |
|
|
|
33 | (7) |
|
|
|
40 | (12) |
|
|
|
40 | (1) |
|
Shadow in dance performances |
|
|
40 | (9) |
|
Loie Fuller: a pioneer choreographer in the exploration of shadow |
|
|
40 | (3) |
|
Shadow (2014) by Elevenplay: a contemporary exploration of shadow in dance |
|
|
43 | (2) |
|
Similarities between Shadowland (2009) by Pilobolus and shadow puppetry |
|
|
45 | (4) |
|
|
|
49 | (3) |
|
3 The behaviour of shadows in artforms |
|
|
52 | (20) |
|
|
|
52 | (8) |
|
Shadows that add characteristics to the caster |
|
|
53 | (1) |
|
|
|
53 | (5) |
|
Shadows that add characterization |
|
|
58 | (2) |
|
Shadows that add anticipation |
|
|
60 | (2) |
|
Shadows that disorient the recognition of the caster |
|
|
62 | (6) |
|
Shadows that disorient location |
|
|
62 | (2) |
|
Shadows that disorient shape |
|
|
64 | (1) |
|
Shadows that disorient movement |
|
|
65 | (3) |
|
|
|
68 | (4) |
|
4 Theories of shadows and their possible applications in dance practice |
|
|
72 | (16) |
|
|
|
72 | (1) |
|
|
|
73 | (12) |
|
The physicality of shadows |
|
|
73 | (4) |
|
The projection of shadows |
|
|
77 | (4) |
|
The symbolism of shadows in culture |
|
|
81 | (4) |
|
|
|
85 | (3) |
|
|
|
88 | (28) |
|
|
|
88 | (2) |
|
Dancer, light, and surface in the creation of shadows |
|
|
90 | (10) |
|
Working with the movement of a dancer to create shadows |
|
|
90 | (3) |
|
Working with movement of light to create shadows |
|
|
93 | (4) |
|
Working with the movement of a shadow's surface |
|
|
97 | (3) |
|
Shadows as autonomous entities |
|
|
100 | (13) |
|
|
|
100 | (6) |
|
Three-dimensional shadows |
|
|
106 | (3) |
|
Shadow's colour and boundaries |
|
|
109 | (4) |
|
|
|
113 | (3) |
|
6 Sombreiro, a shadowy dance performance |
|
|
116 | (36) |
|
|
|
116 | (1) |
|
|
|
117 | (14) |
|
A journey back home: searching shadows in Bahian culture (Brazil) |
|
|
117 | (3) |
|
Street festivities of Bahia: Yemanja and carnival of Maragojipe |
|
|
120 | (5) |
|
|
|
125 | (6) |
|
Shadows beyond the blockage of lights |
|
|
131 | (14) |
|
Shadows and dancing movement |
|
|
131 | (6) |
|
Shadows and spatial arrangements |
|
|
137 | (4) |
|
|
|
141 | (4) |
|
|
|
145 | (7) |
| Afterword (closing remarks) |
|
152 | (2) |
| Appendix 1 Additional information about the application of chiaroscuro in theatre practices |
|
154 | (3) |
| Appendix 2 Additional information on Yemanja festivity |
|
157 | (2) |
| Appendix 3 Additional information about Maragojipe's carnival |
|
159 | (1) |
| Appendix 4 Additional information about underpaid Brazilian workers |
|
160 | (2) |
| Appendix 5 Additional information about Gyula Csapo's songs |
|
162 | (2) |
| Appendix 6 A manual to work with light and shadow in dance practices |
|
164 | (3) |
| Tlie experiments |
|
167 | (25) |
| Index |
|
192 | |