Mark Morris Marks Purcell
Dido and Aeneas as Danced Opera
Bibliographic Data
| ID | 20458451 |
|---|---|
| Authors | Stephanie Jordan (0000-0003-0924-3095, corresponding author) |
| Year | 2011 |
| Volume | 29 |
| Issue | 2 |
| Pages | 167-213 |
| Publication date | 2011-11-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Dance Research (JOURNAL) |
| Journal identifiers | ISSN: 0264-2875 • E-ISSN: 1750-0095 |
| Publisher | Edinburgh University Press (PUBLISHER • GB) |
| DOI | 10.3366/drs.2011.0012 |
| OpenAlex | W2067932153 |
| Language | EN |
| Citations received | 1 |
| References cited | 5 |
With Dido, Morris also made for himself one of the greatest and most challenging dancing roles of his career, distinguished by him dancing the two leading female roles, Dido and the Sorceress, which merge – a good example of character change ‘in a second’ – into a single role. Unsurprisingly, the gender issues have already been a major focus of attention, controversial for audiences and critics at the time of its premiere, while appealing to one of the most urgent concerns of dance scholars today (Burt; Morris). The work’s postmodern, multi-layered meanings have also been examined (Martin; Preston), given its ambition as home for multiple intertexts crossing history and cultures – especially intertexts from other dances and other dance styles
Art · Art history · Dance · DIDO · Literature · Opera · Postmodernism · Visual arts · Computer Science · Diversity and Impact of Dance · Musicology and Musical Analysis · Theater, Performance, and Music History
| Citations per year | 0.13 |
|---|---|
| Citation span | 2018 - 2018 (1) |
| Highly cited | No |