000			02671nam a22002897a 4500
003			OSt
005			20190314103953.0
008			190314b xxu||||| |||| 00| 0 eng d
010			_a2002153190
020			_a9780838639481 (alk. paper)
020			_a0838639488 (alk. paper)
035			_a(OCoLC-M)50942097
035			_a(OCoLC-I)270346989
040			_aDLC _beng _cDLC _dNhCcYBP _dAMPA
082	0	4	_221 _a792.82 _bDUE
100	1		_aDuerden, Rachel S. Chamberlain _eauthor
245	1	4	_aThe choreography of Antony Tudor : _bfocus on four ballets / _cR. Chamberlain Duerden.
260			_aMadison : _bFairleigh Dickinson University Press ; _aLondon : _bAssociated University Presses, _c2003.
300			_a329 p. : _bill. ; _c25 cm.
504			_aIncludes bibliographical references (p. 315-322) and index.
505			_tPART I: Facets of the Crystal / _r1. Tudor's Aesthetic -- _r2. The Nuts and Bolts of Tudor's Ballets -- _r3. Forays into Interpretation: Subject Matter, Its Treatment, and Possibilities of Meaning/Significance in Tudor's Ballets -- _tPART II: Narrative, Character, Mood, Music / _r4. Narrative, Character, Mood, Music -- _r5. Jardin aux Lilas -- _r6. Dark Elegies -- _r7. Pillar of Fire -- _r8. The Leaves Are Fading -- _r9. Music, Hidden Gender, and the Changing Demands of Life -- _r10. Beyond Drama, beyond Music -- _tAPPENDIX: Outline of Tudor's Professional Career.
520			_a"The Choreography of Antony Tudor: Focus on Four Ballets presents both an analytical overview of the ballets created for the stage by Antony Tudor and an in-depth critical analysis of four key works: Jardin aux Lilas (1936), Dark Elegies (1937), Pillar of Fire (1942), and The Leaves Are Fading (1975). Tudor was a British choreographer who spent a large part of his working life in the United States, and although he was not prolific in his output, his works include several masterpieces of twentieth-century ballet repertoire. Characteristic of his work is an exceptionally creative and sensitive relationship of choreography with music, a relationship different from that developed by his equally musical contemporary, George Balanchine, in that it privileges subtle layers of dramatic, often psychological, exposition as well as complex mythmical structures. Tudor's ballets invariably involve a psychological human dimension, even when there is no "story" as such, and it is these two strands - the musical and the dramatic - that the choreographer exploits with consummate skill in the best of his work." - Nielsen Book Data
600	1	0	_aTudor, Antony _d1908-1987 _xCriticism and interpretation.
650		0	_aChoreography
650		0	_aBallet
942			_2ddc _cBK
999			_c3559 _d3559