Frederick Ashton’s Ballets Style, Performance, Choreography

Frederick Ashton’s Ballets Style, Performance, Choreography by Geraldine Morris is an illustrated work published by Dance Books in 2012. This book presents a ground-breaking study of style in six ballets by Sir Frederick Ashton, exploring their contributions to twentieth-century dance and art. The author examines key questions about performance and its connection to style, delving into the nature of dance and how it can be identified and retained.
Readers will find an in-depth analysis of six notable works, including A Wedding Bouquet and Daphnis and Chloe, as Morris discusses the intricate relationship between choreography, performance, and the broader context of early twentieth-century training in Britain. The book is aimed at dancers, students, and dance enthusiasts who seek a deeper understanding of these significant ballets. With insights drawn from her experience dancing with the Royal Ballet during Ashton’s directorship, Morris offers a unique perspective that is both informative and thought-provoking.
Official synopsis Publisher
In this ground-breaking study of style in six ballets by Sir Frederick Ashton, Geraldine Morris examines the contribution they have made to twentieth century dance and art. Central to the discussion are questions about performance and its connection with style. What do we mean by style in dance? How do we identify it? How can it be retained? Can choreographed movement be distinguished from the danse d’ecole? Does any of this matter? Having considered the nature of style and its relationship to early twentieth century training in Britain, Morris goes on to discuss the six works: A Wedding Bouquet, Illuminations, Birthday Offering, Jazz Calendar, Daphnis and Chloe and A Month in the Country. Delivered with verve and enthusiasm, her analysis and examination of Ashton’s role, together with that of the dancers, designers, writers and musicians, is both innovative and thought-provoking. The book is intended for dancers, students and dance enthusiasts who have enjoyed these great works and wish to understand them more fully. Having danced with the Royal Ballet during the years when Ashton was the company’s Director, the author brings inside knowledge, informed and enlivened by years of studying the dances. The result is exhilarating and enlightening but also controversial. Geraldine Morris is a Senior Lecturer in Dance Studies at the University of Roehampton.
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