1,725,622 research outputs found
‘What Moves Them’ An investigation into the use of the techniques of Pina Bausch and the strategy of ‘creativity cards’ in the creation of a piece of dance theatre that communicates the brutalities of sex trafficking.
No full textThis thesis documents a process of practice-led research in which I drew on the techniques of Pina Bausch and a particular methodological and choreographic approach to making material – ‘creativity cards’ – in order to create a piece of dance theatre that communicated the brutalities of sex trafficking. The thesis concludes that the form of dance theatre together with the methodology of ‘creativity cards’ and Bauschian techniques such as the use of repetition, the use of ‘violence’ and the use of ‘memeplex’ (a specific characteristic movement species that can be found across Bausch’s work),
enabled me as a choreographer to establish a relationship between the performer and the audience. The combination of form, techniques and methodology used in the research project engaged the audience in such a way that they empathised with the performer and were encouraged to think about what was being presented on stage in The Body Shop. This engagement between audience and performer meant that the project was successful in conveying the brutal realities of sex trafficking
Reading: Richard Bausch
No full textIn this audiovisual recording from Tuesday, March 19, 2013, as part of the 44th Annual UND Writers Conference: “A Portrait of an Artist,” Richard Bausch reads his short story “Fatality” from his book The Stories of Richard Bausch. Bausch also responds to audience questions about revisions, handling violence, research, and handling dialogue.
Introduced by Stephanie Liden
Bausch Anniversary
No full textInvitation to the 50th wedding anniversary of Mr. and Mrs. E. Bausch. Mr. Bausch was instrumental in establishing the Rochester Dental Dispensary and he served on the Dispensary's Board of Directors from 1915-1944
Richard Bausch, 31st Annual ODU Literary Festival
No full textRichard Bausch is the author of 10 novels and seven collections of short stories, including Take Me Back (1981), which was nominated for the PEN/Faulkner Award; Hello to the Cannibals (2003); and Thanksgiving Night (2006). His short stories have appeared in numerous anthologies, including Best American Short Stories, O. Henry, and Pushcart. He has received National Endowment for the Arts and Guggenheim fellowships, the Lila Wallace-Reader’s Digest Writer’s Award, and the Award in Literature from the Academy of Arts and Letters. Previously professor of English at George Mason University, Bausch holds the Lillian and Morrie A. Moss Chair of Excellence at the University of Memphis
Bausch and Phenomenology
No full textThis article examines the work of expressionist dance artist and choreographer Pina Bausch through the lens of basic phenomenological principles drawn from the work of Maurice Merlea-Ponty. It is a reprint of an article published in 1993-4 and is included in this edited collection on Pina Bausch representing significant work over the decades celebrating her work from aesthetic, critical and academic perspectives
Audience manipulation? Subverting the fourth wall in Pina Bausch’s Kontakthof (1978) and Nelken (1982)
No full textPina Bausch’s Tanztheater breaks everyday behaviour into its most elemental fragments, and fundamental aspects of stage etiquette are constantly challenged, not least the barrier between performer and spectator known as the fourth wall. Accordingly, the hierarchy of the theatre space is thrown into question, and the audience’s preconceived notions of boundaries, appropriate behaviour and expectations are left open ended. In the following article, two case study examples of Bausch’s works—Kontakthof (‘Meeting Place’, 1978) and Nelken (‘Carnations’, 1982)—have been selected in order to demonstrate the range of techniques Bausch employs in manipulating the fourth wall. Both are lengthy in duration and extremely complex, layered works of dance theatre, illustrating Bausch’s varied methods of audience manipulation at what I have identified as a ‘golden period’ in her career. This article explores the process of audience manipulation through Bausch’s peripatetic use of the fourth wall, illustrating that, as dance theatre has evolved, the performance event has become increasingly confrontational and direct, engaging with the audience in a more provocative manner, and calling into question the limits of the theatre space.Publisher PD
Bausch & Lomb Optical Co., manufacturers of photographic lenses, shutters, prisms, etc. : branch office and warerooms, 130 Fulton Street, New York City ... factory and main office, 515-545 North St. Paul Street, Rochester, N.Y.
No full text"Supplement to catalog of photographic lenses. Zeiss-convertible anastigmat lenses and ray filters" (8 pages)--laid in."Photographic lenses, shutters, prisms"--Cover.Mode of access: Internet
The selected stories of Richard Bausch
No full textThis Modern Library edition presents ten acclaimed stories that perfectly showcase Bausch's incisive wit, perception, and artistry. In "Aren't You Happy for Me?" a young woman tries to explain to her outraged father why she is marrying a college professor who is old enough to be her grandfather. In "Police Dreams" a devoted husband is unaware that his wife is about to leave him, yet he is tormented by a recurring nightmare in which their family is stalked by killers. And in the OHenry Award-winning "What Feels Like the World," Bausch renders a portrait of human bonding that seems somehow an antidote to the losses endured by his other character
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