Robin Jackson explores the life and extraordinary range of work of 20th century German artist Hermann Gross
by Elisa Cazzato Those who have familiarity with the work backstage in a theatre or dance production will know that this is where quarrels and logistic tensions often occur. In my research at the Paris Opéra, I take a look…
By Lynn Matluck Brooks Ballet in early America? Didn’t we have to wait for the Russians to show up in the 1910s with the Ballets Russes, and for those who emigrated to the United States in the 1920s and ’30s?…
by Amanda Hodgson What do these three Victorian actresses have in common? They all acted at one time or another at the Adelphi Theatre, but another thing they have in common, and the thing that interests me, is that they…
by Ana Abad-Carlés and Marina Peñaranda-Abad Our article for Dance Research 41(2) came to us in a very serendipitous way, when we saw that the Prologue to the Spanish edition of Serge Lifar’s book La Danse had been written by…
by ‘Funmi Adewole Elliott Over the years I have carried out several research projects as a practitioner, at times with funding from organisations like the Arts Council and Chisenhale Dance Space or with support from The Space at Clarence Mews.…
by Simon Ellis Making art is messy. Artists make lots of decisions under less-than-ideal conditions without a clear understanding of how the work will turn out and how it will be felt and experienced by others. When we make artistic…
by Richard Ralph In March this year, Dance Research lost two of its core members from its editorial team – Margaret McGowan and Clement Crisp, who had each been with the journal since its inception forty years ago. I have…
English speakers use the term “belly dance” to describe solo, improvised dances from the Middle East and North Africa that feature intricate movements of the shoulders, chest, and hips. Where Did the Name “Belly Dance” Come From? It isn’t a…