Bryon, Experience (2009) Interdisciplinarity and Embodied Knowledge: Towards an Active Aesthetic Using Integrative Performance Practice. In: Tanz im Musiktheater - Tanz als Musiktheater : Bericht Eines Internationalen Symposions über Beziehungen von Tanz und Musik im Theater. Königshausen & Neuman, Würzburg, pp. 135-147. ISBN 9783826040832
Dance and music in the theater represent an artistic challenge, which, despite its obviousness, has also been repeatedly questioned and subjected to violent criticism. At the same time, it constantly developed new, imaginatively creative forms. To examine the relationship between dramaturgical concepts and their scenic realization in detail on the basis of "case studies" or in a general overview in a general view, formed the center of a symposium that did not stimulate practical perception and theoretical reflection as diametrically opposing poles Perspectives within artistic processes. More than thirty dance, music and theater academics from Germany and abroad illuminated this subject from deliberately very diverging perspectives. The spectrum of the contributions from ballet de cour, ballet en action and ballet pantomime over the experiments around the dancemodern of the early 20th century to contemporary dance performances. It is necessary to highlight the variety of possibilities for the interplay of dance and music in the theater, and to compare the resulting musical choreographic methods with each other in order to give an equally inspiring and reflective view of the old And yet always to direct new artistic fascination. The volume is published on behalf of the research institute for music theater Thurnau. The editor Thomas Betzwieser, since 2001 Professor of Musicology at the University of Bayreuth; Research interests: 18th century French music, opera aesthetics, musical theatrical transfer, opera forward. Annomungen is director of the research institute for music theater at Schloss Thurnau and holder of the Chair for Theater Science with a special focus on the Music Theater at the University of Bayreuth. His scientific focus is the opera of the 18-20. Music and film, music history in Germany 1920-1945, music and gender. Andreas Münzmay teaches musicology at the Musikhochschule Stuttgart and works as a musician, music and foreign language pedagogue. His research focuses on culture transfer, intermediality and compositional history, especially in the music theater, jazz and religious music. Stephanie Schroedter has been working since the beginning of her studies at the interface between dance, music and theater studies / practice: Her dissertation on the change of dance poetics around 1700 has already appeared at Königshausen & Neumann ("Vom, Affect 'zur' Action '", Würzburg 2004 ) - she is currently habilitating to "Music in Motion: Dance Cultures of the 19th Century". Her main research interests include dance-music interactions in contemporary theatrical forms, to which she has already published numerous articles.
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