Geraldine Morris
Biographic Data
| ID | 6185321 |
|---|---|
| NAME | Geraldine Morris |
| GIVEN NAMES | Geraldine |
| FAMILY NAME | Morris |
| SIGNATURE | MORRIS G |
| AFFILIATIONS | University of Roehampton |
| ORCID | 0000-0003-2047-2630 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Ira Nadel, The Business of Ballet
Historical schooling
Aiming to challenge the notion that the ballet lexicon is ahistorical, this study focuses on the ballet classroom. Training plays a vital role in how ballets are performed, and past choreography needs a different approach from that of contemporary ballets. Previous studies of classroom movement, while acknowledging different Schools, have not dealt with the effect on the dancer of diverse training systems. To explore this, I filmed three students…
Sarah Woodcock, Dynamo Michael Somes
Yaël Tamar Lewin, Night's Dancer
Rethinking Dance History
Constant Lambert
Notes1Richard Shead, Constant Lambert (London: Simon Publications, 1973); and Andrew Motion, The Lamberts: George, Constant and Kit (London: Chatto & Windus, 1986).The concept of living, rather than existing, comes from “The Soul of Man under Socialism” (1890), by Oscar Wilde, whom Lambert resembled in some ways. According to composer Denis ApIvor, Lambert was “probably the best conversationalist since Oscar Wilde” (p. 317). The actual quote from…
Visionary Dances
Save for a cursory reference, art history tends to ignore dance and in particular the work made by Graham Sutherland and John Piper for the choreographer Frederick Ashton during the early 1940s. By overlooking dance and its designs, other than those for the Ballets Russes, the art world is wasting a valuable resource. In the following article I consider how the collaborations between Ashton, Sutherland and Piper illuminate the extent to which bot…
Persephone
Ashton and MacMillan in Fairyland
Dance Partnerships
Dance Partnerships
No prominent works on this page.
Dance Partnerships
Dance Partnerships
Persephone
Ashton and MacMillan in Fairyland
Visionary Dances
Save for a cursory reference, art history tends to ignore dance and in particular the work made by Graham Sutherland and John Piper for the choreographer Frederick Ashton during the early 1940s. By overlooking dance and its designs, other than those for the Ballets Russes, the art world is wasting a valuable resource. In the following article I consider how the collaborations between Ashton, Sutherland and Piper illuminate the extent to which bot…
Constant Lambert
Notes1Richard Shead, Constant Lambert (London: Simon Publications, 1973); and Andrew Motion, The Lamberts: George, Constant and Kit (London: Chatto & Windus, 1986).The concept of living, rather than existing, comes from “The Soul of Man under Socialism” (1890), by Oscar Wilde, whom Lambert resembled in some ways. According to composer Denis ApIvor, Lambert was “probably the best conversationalist since Oscar Wilde” (p. 317). The actual quote from…
Rethinking Dance History
Yaël Tamar Lewin, Night's Dancer
Historical schooling
Aiming to challenge the notion that the ballet lexicon is ahistorical, this study focuses on the ballet classroom. Training plays a vital role in how ballets are performed, and past choreography needs a different approach from that of contemporary ballets. Previous studies of classroom movement, while acknowledging different Schools, have not dealt with the effect on the dancer of diverse training systems. To explore this, I filmed three students…
Sarah Woodcock, Dynamo Michael Somes
Ira Nadel, The Business of Ballet
Art (11 works) · Art history (9 works) · Dance (9 works) · Diversity and Impact of Dance (9 works) · Visual arts (7 works) · Ballet (5 works) · Musicology and Musical Analysis (5 works) · Theatre and Performance Studies (5 works) · Theater, Performance, and Music History (4 works) · Cinema and Media Studies (3 works)