Leslie Satin
Biographic Data
| ID | 979625 |
|---|---|
| NAME | Leslie Satin |
| GIVEN NAMES | Leslie |
| FAMILY NAME | Satin |
| SIGNATURE | SATIN L |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1990 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Cell-Out
“Cell-Out” is a performance, a collaborative investigative enactment of physical, spatial, and communicative mobility in urban areas, and an exploration of walking in the digital city through shifts of space, attention, and time. Claudia Brazzale and Leslie Satin approach walking as dancers whose embodied practices are based largely in Western contemporary dance techniques and somatic / contemplative forms, including early post-modern dance's cul…
Dancing in Place
This essay brings the work of Georges Perec, the experimental twentieth-century French writer, into contact with dance. It considers ways that Perec's writing and post-modern dance share certain compositional processes and categories, such as Perec's four “fields” (the “sociological,” “autobiographical,” “ludic,” and “fictive”) and concerns (such as time, attention, and exhaustion); aspects of autobiography, such as acts of disclosure and mystifi…
Intellectual Underpinnings
A few family snapshots: 1. One day, my father and I stood, chatting, in a bank lobby. “I just don't get it,” he said. “You've got more brains in your head than you have in your feet.” 2. My husband sings in an a cappella chorus, and for one Mother's Day concert we all wore necklaces emblazoned with words our mothers had never said. “Choreography and dance,” mine proclaimed. “What a wonderful career choice!” 3. After watching me perform some years…
Dialogues
The articles that follow in this section developed out of an improvised dance and papers presented by a panel of scholars based in the United States and the United Kingdom at the Society of Dance History Scholars (SDHS) 2008 conference at Skidmore College in Saratoga Springs
Remembering Judy rosenthal
Past Forward (review)
One evening in July 2000, I waited on line for the bathroom at Princeton's McCarter Theatre. The White Oak Dance Project, including artistic director Mikhail Baryshnikov, had just concluded a work-in-progress program of PASTForward, dances first presented nearly forty years ago by the Judson Dance Theater (JDT) plus later works by Judson choreographers. The performers were still onstage, boogeying with gleeful audience members to Ike and Tina Tur…
The Legs of the Theorist
Autobiography in the present tense
(1999). Autobiography in the present tense: Deborah Hay, living and dying at once. Women & Performance: a journal of feminist theory: Vol. 10, No. 1-2, pp. 181-210
Movement and the body in Maya Deren'smeshes of the afternoon
(1993). Movement and the body in Maya Deren's meshes of the afternoon. Women & Performance: a journal of feminist theory: Vol. 6, No. 2, pp. 41-56
One and another
Valentine de Saint-Point
On April 3,1917, dancer Valentine de Saint-Point performed at New York City's Metropolitan Opera House. It is accepted as common knowledge (a term which may be stretching the point somewhat, given the relatively small body of writings which refer to her) that she was a) a Futurist, b) one of the very few, if not the only, female Futurists, and c) the only, if not one of the very few, Futurists to perform in New York. Actually, none of these “fact…
Dialogues
The articles that follow in this section developed out of an improvised dance and papers presented by a panel of scholars based in the United States and the United Kingdom at the Society of Dance History Scholars (SDHS) 2008 conference at Skidmore College in Saratoga Springs
One and another
Valentine de Saint-Point
On April 3,1917, dancer Valentine de Saint-Point performed at New York City's Metropolitan Opera House. It is accepted as common knowledge (a term which may be stretching the point somewhat, given the relatively small body of writings which refer to her) that she was a) a Futurist, b) one of the very few, if not the only, female Futurists, and c) the only, if not one of the very few, Futurists to perform in New York. Actually, none of these “fact…
One and another
Movement and the body in Maya Deren'smeshes of the afternoon
(1993). Movement and the body in Maya Deren's meshes of the afternoon. Women & Performance: a journal of feminist theory: Vol. 6, No. 2, pp. 41-56
Autobiography in the present tense
(1999). Autobiography in the present tense: Deborah Hay, living and dying at once. Women & Performance: a journal of feminist theory: Vol. 10, No. 1-2, pp. 181-210
The Legs of the Theorist
Past Forward (review)
One evening in July 2000, I waited on line for the bathroom at Princeton's McCarter Theatre. The White Oak Dance Project, including artistic director Mikhail Baryshnikov, had just concluded a work-in-progress program of PASTForward, dances first presented nearly forty years ago by the Judson Dance Theater (JDT) plus later works by Judson choreographers. The performers were still onstage, boogeying with gleeful audience members to Ike and Tina Tur…
Remembering Judy rosenthal
Intellectual Underpinnings
A few family snapshots: 1. One day, my father and I stood, chatting, in a bank lobby. “I just don't get it,” he said. “You've got more brains in your head than you have in your feet.” 2. My husband sings in an a cappella chorus, and for one Mother's Day concert we all wore necklaces emblazoned with words our mothers had never said. “Choreography and dance,” mine proclaimed. “What a wonderful career choice!” 3. After watching me perform some years…
Dialogues
The articles that follow in this section developed out of an improvised dance and papers presented by a panel of scholars based in the United States and the United Kingdom at the Society of Dance History Scholars (SDHS) 2008 conference at Skidmore College in Saratoga Springs
Dancing in Place
This essay brings the work of Georges Perec, the experimental twentieth-century French writer, into contact with dance. It considers ways that Perec's writing and post-modern dance share certain compositional processes and categories, such as Perec's four “fields” (the “sociological,” “autobiographical,” “ludic,” and “fictive”) and concerns (such as time, attention, and exhaustion); aspects of autobiography, such as acts of disclosure and mystifi…
Cell-Out
“Cell-Out” is a performance, a collaborative investigative enactment of physical, spatial, and communicative mobility in urban areas, and an exploration of walking in the digital city through shifts of space, attention, and time. Claudia Brazzale and Leslie Satin approach walking as dancers whose embodied practices are based largely in Western contemporary dance techniques and somatic / contemplative forms, including early post-modern dance's cul…
Art (10 works) · Diversity and Impact of Dance (8 works) · Aesthetics (5 works) · Dance (5 works) · Visual arts (5 works) · Theatre and Performance Studies (4 works) · Art history (3 works) · History (3 works) · Sociology (3 works) · Art, Politics, and Modernism (2 works)