• Complain

Sirotkina Irina - The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia

Here you can read online Sirotkina Irina - The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: Russia, year: 2017, publisher: Bloomsbury UK;Bloomsbury Publishing PLC, genre: Science. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

Sirotkina Irina The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia
  • Book:
    The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia
  • Author:
  • Publisher:
    Bloomsbury UK;Bloomsbury Publishing PLC
  • Genre:
  • Year:
    2017
  • City:
    Russia
  • Rating:
    3 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 60
    • 1
    • 2
    • 3
    • 4
    • 5

The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

Cover page -- Halftitle page -- Title page -- Copyright page -- CONTENTS -- LIST OF ILLUSTRATIONS -- ACKNOWLEDGEMENTS -- NOTE ON THE TEXT -- LIST OF ABBREVIATIONS -- Introduction: Movement and Exuberant Modernism -- CHAPTER ONE The Sixth Sense -- The senses -- Muscular feeling and kinaesthesia -- CHAPTER TWO Search for Deeper Knowledge -- The kinaesthetic intellect -- The higher sensitivity -- Kinaesthesia and synaesthesia -- CHAPTER THREE Expression in Dance -- The new dance -- The Russian Hellenes -- Ach, the devil take it, again theyre dancing here! -- CHAPTER FOUR Speaking Movement -- The perfect language: Andrei Bely on gesture -- The dance-word: the creative union of Esenin and Duncan -- Word plasticity: the budetliane and the bare-footed -- CHAPTER FIVE By the Fourth Way -- The mystic arts -- From Dalcroze to Gurdjieff -- Presence -- CHAPTER SIX Thinking with the Body -- Mayakovsky dances the foxtrot -- Brik-dance -- Who thought up biomechanics? -- CHAPTER SEVEN Art as Bodily Knowledge -- Technique -- Kinaesthesia in culture -- FURTHER READING -- NOTES -- INDEX.

Sirotkina Irina: author's other books


Who wrote The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia? Find out the surname, the name of the author of the book and a list of all author's works by series.

The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make
The Sixth Sense of the Avant-Garde

CONTENTS Vera Mayas Studio Photo S Rybin 1927 Courtesy A A Bakhrushin - photo 1

CONTENTS

Vera Mayas Studio. Photo: S. Rybin, 1927. Courtesy A. A. Bakhrushin State Central Theatre Museum, Moscow.

Heptachor Studio in the 1920s. Courtesy Tatiana Trifonova.

Stefanida Rudneva. The Wings, mid-1920s. Courtesy Tatiana Trifonova.

Stefanida Rudneva and Natalia Pedkova. A study to Dance of the Skomorokhi by Nikolai Rimsky-Korsakov, mid-1920s. Courtesy Tatiana Trifonova.

Fedor Golovin. M. F. Kokoshkina, Andrei Bely and F. F. Kokoshkin. Paper, Indian ink. 1917. Courtesy Andrei Bely Memorial Apartment on Arbat, Moscow.

Vasily Kamensky. Tango with Cows. Ferro-concrete Poems. 1914.

An Embarrassing Situation. Amongst bare-footed dancers there is a new trend to illustrate poetry with dances. Courtesy Andrei Rossomakhin.

Vladimir Mayakovsky (1924).

Nikolai Foregger. Machine Dances (1923). From Ritm i kultura tantsa (Rhythm and the Culture of Dance) (Moscow and Leningrad, 1926).

Cyclography of stroke movement. Central Institute of Labour, Moscow, 1920s. From R. Flp-Miller, The Mind and Face of Bolshevism (London and New York, 1927).

Nikolai Bernshtein in the Central Institute of Labour. Moscow, mid-1920s. From R. Flp-Miller, The Mind and Face of Bolshevism (London and New York, 1927).

This book is a fully rewritten and expanded version of Irina Sirotkina, Shestoe chuvstvo avangarda: tanets, dvizhenie, kinesteziia v zhizni poetov i khudozhnikov (The Sixth Sense of the Avant-garde: Dance, Movement, Kinaesthesia in the Lives of Poets and Artists), published in the series Avant-garde, copyright the European University Press in Saint-Petersburg (EUSP), Russian Federation, in 2014, republished in a new edition in 2016. This English-language version is published by arrangement with EUSP, whose involvement is gratefully acknowledged. We sincerely thank the editor of the Russian text, Andrei Rossomakhin, for his deep interest and support.

The book owes much to a wide range of scholars and Russian institutions. It crosses borders between Slavic studies, dance and performance studies, history of art and literature, cultural history and history of science in order to draw on the riches of research in the humanities. The notes indicate our debts. Amidst all the scholarship on the Russian avant-garde, it is hard to overemphasize the contribution by a scholarly couple, John E. Bowlt and Nicoletta Misler. In addition to their own prolific writings and curatorship of exhibitions, they edit Experiment: A Journal of Russian Culture, twenty-one volumes (1995 to present) including academic inquiries into ballet, ballroom dance, theatre, gymnastics and body culture in early twentieth-century Russia. They have generously contributed their enthusiasm and knowledge to our project.

We also would like to thank Caryl Emerson, Lynn Garofola and Dee Reynolds for their encouraging interest in and support for the book.

The English text, based on a translation from Irina Sirotkina, Shestoe chuvstvo, is our own. We thank Sergei Zhozhikashvili for many explanations of the Russian language and much patience with his student, Roger Smith.

We are happily indebted to our experience of the Russian tradition of musical movement, to our teachers Aida Ailamazian and Tatiana Trifonova, and to all those with whom we have shared movement.

We acknowledge the following permissions:

Extract in chapter 2, from Rainer Maria Rilke, Sonnets to Orpheus, trans. J. B. Leishman (1936), reprinted by permission of the Random House Group Ltd.

The epigram to chapter 6, Vladimir Mayakovsky, author, and George Hyde, translator, from How Are Verses Made?, Bristol Classical Press, an imprint of Bloomsbury Publishing Plc.

The epigram to chapter 7, from Friedrich Nietzsche, Thus Spoke Zarathustra, trans. R. J. Hollingdale, copyright R. J. Hollingdale, 1961, 1969, reprinted by permission of Penguin Random House UK.

All translations are our own, unless otherwise acknowledged. We transliterate Russian names and words according to a modified US Library of Congress standard; where more familiar versions of names are in common use (e.g. Dostoevsky), we adopt that form. Where we cite sources, we copy names as they appear in that source.

Where ellipses () appear in quotations, they are our insertions, unless noted as being in the original text.

Where emphases are added to quotations, this is noted.

GAKhNAcademy of Art Sciences (All-Russian, and after 1926, State)
GARFState Archive of the Russian Federation
GINKhUKState Institute of Art Culture (Petrograd)
INKhUKInstitute of Art Culture (Moscow)
MastforMasterskaia Foreggera (Foreggers theatre-workshop)
MGUMoscow State University
NarkomprosPeoples Commissariat of Enlightenment
NEPNew Economic Policy
NOTscientific organization of labour
Okna ROSTAWindows of the Russian Telegraph Agency, propaganda posters created by artists and poets within the ROSTA system
OPOIaZPetrograd Society for the Study of Poetic Language
ProletkultProletarskaia kultura (proletarian culture), Soviet institution to promote culture and art of working people
RATIRussian Academy of Theatre Art
RGALIRussian State Archive of Literature and Art
RGGURussian State Humanities University
RSFSRRussian Soviet Federative Socialist Republic
tefizkultTeatralizatsiia fizkultury (theatrialization of physical culture), a project of Ippolit Sokolov and Vsevolod Meyerhold supported by Vsevobuch
TEOTheatrical Section of Narkompros
TsITCentral Institute of Labour
UNOVISUtverditeli Novogo Iskusstva (The Champions of the New Art), a group of Russian artists founded by Kazimir Malevich in Vitebsk
VsevobuchMain Directorate of General Military Education
VSFKAll-Russian Council of Physical Culture

Vera Mayas Studio Photo S Rybin 1927 Courtesy A A Bakhrushin State - photo 2

Vera Mayas Studio. Photo: S. Rybin, 1927. Courtesy A. A. Bakhrushin State Central Theatre Museum, Moscow.

To be is to sense, to feel; in that sensing and feeling, to know, to be aware. All sensing is movement.

A young woman jumps, leaps, takes to the air. We do not know her name, only that she flies in the free dance studio of Vera dress, or relative undress for Russia at this time: her gymnasts costume and flowing tunic.

Eighty or ninety years later, the photograph has become well known, having appeared in exhibitions on modernism and physical culture and the covers of books. The woman has a public. Yet the image still has the power to undermine and to transcend description. We might be tempted to think that there is no need to say anything: this is a moment of beauty and liberation, performed not stated. The dancers jump, however, leads us to a number of large claims, the themes of our book, themes at one and the same time historical and philosophical. Our conclusions must be tentative, especially in a short book of large scope. Nevertheless, we aim to focus attention on and advance discussion of a number of related issues.

Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia»

Look at similar books to The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia»

Discussion, reviews of the book The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.