41. Dance Magazine dance has come back! Karole Armitage––dubbed the “punk ballerina” of the ‘80s for progresses from acrobatic neoclassicism through moody expressionism, http://www.dancemagazine.com/dance_magazine/reviews/show_review.php?f=may_2004/a

42. Dance Magazine Free! Search Here! Everything You Need in the dance World! his classicalheritage with the influence of Lopukhov’s plastic expressionism and acrobatics. http://www.dancemagazine.com/dance_magazine/reviews/show_review.php?f=march_2005

43. DanceScape.TV I wouldn t do well in modern dance because when I go to see it, to the widespectrum of emotional expressionism that Spanish dance has to offer. http://www.dancescape.tv/content/corppages.asp?Page=9&StoryId=195

44. From Dancing Dutch, Contemporary Dance In The Netherlands her own contemporary way, and it has to be said that she started at a time,in the heyday of postmodern dance, when expressionism was taboo in dance. http://www.truus-bronkhorst.com/hedendaagse_dans_hoofdstuk_engels.html

This is an article from a book called: Contemporary Dance in the low countries By Isabella Lanz and Katie Verstockt. 2003. Published by the Flemish-Netherlands Foundation: Stichting Ons Erfdeel. TRUUS BRONKHORST Truus Bronkhorst once called herself a "dancer by origin and with passion". This was no exaggeration, because she has now been describing feelings and thoughts with grand gestures and serene dance steps for twenty years. She continues in the tradition of the great modern dance expressionists in her own contemporary way, and it has to be said that she started at a time, in the heyday of post-modern dance, when expressionism was taboo in dance. She immediately showed that she was very much at home with rebellion and individuality. This image as a dance nonconformist fits her no less now. These solos were about love, suffering, unfulfilled desires, solitude and death. And although these themes were created explicitly on the basis of her own female view, she was able to raise them to a universal level. In her vital and deadly serious questions she only just avoided pathos, but was able to rein it in with irony: she allowed space for humour alongside deep emotion. The grand melodramatic gesture and provocation became her trade marks. In these last group pieces Bronkhorst and Jongewaard rediscovered the balance between beauty and drama. They zoomed in on male behaviour, with all its bravura , vulnerability, vanity and tenderness, in which a touch of homo -eroticism also played a part. They equally reflected their rage about the world's trouble spots. They contained a remarkably large proportion of pure dance. The longer passages drew their strength from the repetition of very meticulous patterns and formations of movement whose classical lucidity was reminiscent of Hans van Manen.

45. Art Journal: Other Solutions humanist and associated with the New York School in painting and MarthaGraham s expressionism in dance expectations that art reveal the subjectivity http://www.findarticles.com/p/articles/mi_m0425/is_3_63/ai_n6358355

@import url(/css/us/style1.css); @import url(/css/us/searchResult1.css); @import url(/css/us/articles.css); @import url(/css/us/artHome1.css); Home Advanced Search IN free articles only all articles this publication Automotive Sports FindArticles Art Journal Fall 2004 Content provided in partnership with 10,000,000 articles Not found on any other search engine. Featured Titles for ALAN Review Afterimage American Drama American Music Teacher ... View all titles in this topic Hot New Articles by Topic Automotive Sports Top Articles Ever by Topic Automotive Sports Other solutions Art Journal Fall, 2004 by Carrie Lambert Save a personal copy of this article and quickly find it again with Furl.net. It's free! Save it. How to use the performer as a medium rather than persona? Is a "ballet mechanique" the only solution? Yvonne Rainer [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] This essay, however, is about how Rainer refused to let things be. Her refusal is nowhere more evident than in five short films she made between 1966 and 1969. Predating Rainer's transformation in the 1970s from choreographer to the maker of feature-length, narrative films, these experiments were screened for artist friends such as Deborah and Alex Hay and Richard Serra, as well as used as elements in multimedia performance pieces. The last of the films, Line (1969), was shown to art audiences when Hollis Frampton and Michael Snow selected it for a program at the Paula Cooper Gallery in 1969, but then, aside from isolated screenings for individuals who were able to borrow them directly from Rainer, the short films went unseen until they were shown on video at Rainer's 2003 retrospective at the Rosenwald-Wolf Gallery of the University of the Arts in Philadelphia. (13) Happily, they are about to become much more accessible, with their release on a DVD produced and distributed by the Video Data Bank in Chicago. (14)

46. Spectator, The: Martha Graham Dance Company Her dance expressionism, and the utterly modernist solutions she adopted to conveywhat she wanted to say, had, among her contemporaries, the same effect as http://www.findarticles.com/p/articles/mi_qa3724/is_200311/ai_n9324924

@import url(/css/us/style1.css); @import url(/css/us/searchResult1.css); @import url(/css/us/articles.css); @import url(/css/us/artHome1.css); Home Advanced Search IN free articles only all articles this publication Automotive Sports FindArticles Spectator, The Nov 8, 2003 Content provided in partnership with 10,000,000 articles Not found on any other search engine. Featured Titles for Advocate, The Air Force Journal of Logistics Air Force Law Review Air Force Speeches ... View all titles in this topic Hot New Articles by Topic Automotive Sports Top Articles Ever by Topic Automotive Sports Martha Graham Dance Company Spectator, The Nov 29, 2003 by Poesio, Giannandrea Save a personal copy of this article and quickly find it again with Furl.net. It's free! Save it. Dance Missing Martha Martha Graham Dance Company Sadler's Wells Theatre Last week, in the middle of one of Martha Graham's most famous creations, a mobile phone went off at Sadler's Wells, shattering any dramatic tension that a lukewarm and unimpressive performance was striving to create. In the darkness, an eminent dance scholar remarked audibly: 'It is Martha. She is calling from beyond to tell them off.' The number of giggles which followed confirmed that others were sharing my disappointment. A lot has been said and written about the 'return' of the 'legendary' company. Yet there is little that is exciting about this comeback, for only a few of the dance works performed had the powerful, neoexpressionist drive which they had when the matriarch of American modern dance was still alive. Much as I hate going down memory lane and creating parallels with the 'beautiful old days', I could not help comparing what I saw last week with something that is still very alive in my memory.

47. ArtLex's En-Ez Page See a larger article devoted exclusivly to expression and expressionism, Also see angst, bias, choose, dance, emotionalism, expressionism, fanciful, http://www.artlex.com/ArtLex/En.html

This site is made possible by its sponsors. Please visit them! enamel encaustic encouragement - See praise engaged column - In architecture , a column -like, nonfunctional form projecting from a wall and articulating it visually. Also see pilaster English art engobe - A colored slip used in decorating ceramics . They have several distinctive attributes, but are also excellent alternatives to glazes because they are less expensive and less time consuming. Engobes are typically made by mixing water with a claybody in use, then mixing in one or more colorants (e.g. oxides proportion of dry ingredients to water that is about 1:2 by volume. They are best applied in a consistency like cream to leatherhard greenware , or a little thinner when applied to bisque Textures made in colored slip will remain as they're formed, instead of smoothing out as do those made with glazes. They can be applied with a brush , a slip-trailing bottle, or by dipping or spraying. Another method for using engobes in making a design is called sgraffito : coat unfired clay with engobe, and then scratch away at parts of it to reveal the clay surface underneath. (pr. en-gohb) engraving enlargement - A larger version of an image or of a work. Making an enlargement is sometimes called a

48. Dances And Movements Gurdjieff s dance licenses no expressionism , euphemistically ascribable toinspiration or intuition. Each Movement s external form is mathematically http://www.gurdjieff.org.uk/gs7.htm

Gurdjieff Studies Gurdjieff Studies Ltd, Registered Charity No. Gurdjieff's Dances and Movements Home Who was Gurdjieff? What did he teach? Some Testimony Dances and Movements The Man and the Literature Contact Us Books Links to Related Sites Ballets Russes Nijinsky Dancing , Kirstein writes: 'As in everything I do, whatever is valid springs from the person and ideas of G. I. Gurdjieff'; see also his Letter to the Editor, Times Literary Supplement , 27 Jun. 1980.) The Struggle of the Magicians Kata mudra By 1922 Alphons Paquet, a German Quaker, had published in Delphische Wanderung Drama Review American Theosophist Katherine Mansfield: Centennial Essays Meetings with Remarkable Men (Back to top of page) Previous Page Homepage Next Page

49. DANCE 319 / THETR 319 / VISST 319: Music, Dance & Light / Fall 2004 Syllabus / R Jowitt Expression and expressionism in American Modern dance ; 13.Aloff Husbandry . Viewing assignment. Graham Appalachian Spring (music Copland), http://www.people.cornell.edu/pages/alf6/04syl914copy.htm

DANCE 319 / THETR 319 / VISST 319 Fall 2004 Syllabus Revised 9/14/04 Instructors: Allen Fogelsanger , Ed Intemann INTRODUCTION LINCOLN HALL 140 Friday, August 27: General introduction In-class viewing: Chu, Hunt, Kovar, London, Magee, Morgenroth, Self, and Thieme: 1 by 8 , excerpt (music: Buckholtz, Collins, Fogelsanger; lighting: Intemann), Dance Program VT Dance '00. SEEING LIGHT LINCOLN HALL 140 Sunday, August 29, 7:15 p.m., Lincoln 140: Showing of video recordings assigned to be viewed by Wednesday, September 1, and Friday, September 3: Wilson: Alceste (music: Gluck) excerpt, Cox DVD 11; Morris: Dido and Aeneas (music: Purcell) excerpt, Cox DVD 3; Morris: Falling Down Stairs (music: Bach), Cox DVD 120 [tracks 13-18, 32:22-53:22]. Monday, August 30: Light as a sensory experience Reading assignment for Monday, August 30: 1. Ackerman: selections from A Natural History of the Senses Wednesday, September 1: Light as an aesthetic experience Reading assignment for Wednesday, September 1: 2. Appia: Actor, Space, Light, Painting 3. Appia:

50. DANCE 319 / THETR 319 / VISST 319 Course Packet Contents Expression and expressionism in American Modern dance. From dance History AnIntroduction, edited by Janet AdsheadLansdale and June Layson (Routledge, http://www.people.cornell.edu/pages/alf6/04BIB529copy.HTM

SEEING LIGHT Ackerman, Diane. Selections from A Natural History of the Senses (Vintage Books, 1995). ISBN: 0394573358. Total 22 of 331 pages. "The Beholder’s Eye," pp. 229-235; "Light," pp. 249-252; "Color," pp. 252-256; "The Force of an Image: Ring Cycle," pp. 281-283; "Fantasia," pp. 289-292. Appia, Adolphe. "Actor, Space, Light, Painting." From Adolphe Appia: Essays, Scenarios, and Designs (UMI Research Press, 1989) pp. 183-185 [3 of 480 pages]. ISBN: 0835719456. Appia, Adolphe. "The Elements." From The Work of Living Art , translated by H. D. Albright (University of Miami Press, 1960) pp. 3-18 [16 of 131 pages]. ISBN: 0870243055. de Marigny, Chris. "Light, Real Time and Jennifer Tipton." From Dance Theatre Journal Vol. 11 #1 (Winter 1993/94) pp. 12-15. Jones, Robert Edmond. "Light and Shadow." From Theatre Arts Vol. 25 #2 (February 1941) pp. 131-139. Kittler, Friedrich A. "Opera in the Light of Technology." From Languages of Visuality: Crossings between Science, Art, Politics, and Literature , edited by Beate Allert (Wayne State University Press, 1996) pp. 73-85 [13 of 270 pages]. ISBN: 0814325408.

51. Dance Video Collection- Lilly Library F&V From Free dance to dance Theatre, German expressionism (dance of the Century) 6407,Cass. 3. PAL format. 53 mins. Paris Amaya, 1992. http://www.lib.duke.edu/lilly/dancevid.htm

Lilly Library, Duke University Film and Video Collection A B C D ... W 1992 Inductions into the Beach Shaggers Hall of Fame 60 mins. Media Consultants, Inc., 1992. Shows couples dancing the shag at Sand Flea Beach Club in Greenville, S.C. 50 Turns and Jumps 37 mins. Riz-Biz Productions, 1994. Bob Rizzo teaches over 50 turn and jump variations, which can be incorporated into jazz or dance classes or choreography; for beginner through advanced dancers !A Bailar! Journey of a Latin Dance Company. 30 mins. NY: Cinema Guild, 1988. troupe. About the Arts: Merce Cunningham WNYC-TV, 1986(?) Barbaralee Diamonstein interviews Cunningham on his career and dance. About Tap. Direct Cinema, 1985, 27 min. Gregory Hines along with some other veteran dancers talks about tap dancing. Abstract Ballet from Academic to Classical Abstraction. (Dance of the Century) #6407, Cass. 2. PAL format. 53 mins. Paris: Amaya, 1992. Sonia Schoonejans, dir. Influence and legacy of George Balanchine. Aeros 32 mins. Electronic Arts Intermix, 1990. By Burt Barr, and choreographed by Tricia Brown, this is a look at the evolution of Trisha Brown's dance work Astral Convertible.

52. The Modern Magazine For Persian Celebrations, Cuisine, Culture & Community Persian dance in Perspective - The Non-Persian perspective by Shahrzad lived through various stages (impressionism, expressionism, avant-guard, etc. http://www.persianmirror.com/community/2005/dance/opinionShahrzadKhorsandi.cfm

Welcome to PersianMirror home login search link to us ... about us Persian Dance- in Perspective - The Non-Persian perspective by Shahrzad Khorsandi This brings me to the second part of my mission in doing Persian dance. The Persian Perspective Shahrzad Khorsandi is a guest contributor for PersianMirror from Richmond, California. She has a B.A. in Dance and M.A. in creative Arts from San Francisco State University and specializes in Persian dance and Modern dance and choreography. For more, visit her website at www.sdadance.org Write a Letter to the Editor about this topic or submit your own to PersianMirror. Back to PersianMirror Editorials COMMUNITY Editorials Business Directory ... Terms

53. Great Performances: Free To Dance - Behind The Dance - Pioneers In Negro Concert that was part German expressionism, eclectic, and African American. Billed as The First Negro dance Recital in America, Hemsley Winfield and Edna http://www.pbs.org/wnet/freetodance/behind/behind_pioneers_b.html

Denishawn Dancers program. Katherine Dunham's Ballet Negre made its only appearance at the Beaux Arts Ball in Chicago. The attempt to create and sustain a Negro ballet company did not succeed. (The first Negro ballet performed European-style pantomimes at the African Grove Theater in New York City, in 1821, under the direction of James Hewlett. Dancers doubled as actors in plays by Shakespeare.) White recitalists were still reacting to the 1930 police raid on recital halls, justified by an 1852 law supported by the New York Sabbath Committee, which stated "no performances on Sunday, including Negro or other dancing." The Denishawn School came to an end. Ruth St. Denis began planning for her Temple School of Spiritual Art, and Ted Shawn envisioned an all-male dance company. Dancers were divided in their thinking about the German movement in modern dance, and particularly about Mary Wigman. Doris Humphrey warned aspiring dancers about copying Wigman's style and urged them to concentrate on developing their own style. Martha Graham's "Primitive Mysteries" was hailed as a masterpiece of choreography. Helen Tamiris, one of the first white dancers to use black spirituals (1927), announced performances for the newly organized Modern Dance Repertory Company. The Beginning: Hemsley Winfield and Edna Guy An actor by profession, Hemsley Winfield appropriated the philosophy of the Harlem Renaissance with reference to developing a sensitivity about the depth and breadth of black culture and the role of the arts in projecting "the new Negro." Hemsley attended concerts by leaders in the American modern dance movement and created a style of choreography that was part German Expressionism, eclectic, and African American. As organizer and director of the Negro Art Theatre Dance, he had directed a small group of dancers as early as 1928 for appearances in plays written by his mother Jeroline. The decision to pursue a dance career resulted from his successful appearance as a substitute dancer in his company's production of Oscar Wilde's " Salome." The first appearance of his dance company, the Bronze Ballet Plastique, on March 6, 1931 in Yonkers, New York, was sponsored by the Benefit for Colored Citizens Unemployment Relief Committee. The event went unnoticed.

54. Home She received her MFA from The Ohio State University, and was awarded the nationalGraduate Research Award in 1992 for her research in dance expressionism. http://www.geneseo.edu/~myers/

Helen Myers Associate Professor of Dance School of Performing Arts 1 College Circle Geneseo, NY 14454 PHONE: (585)245-5983 FAX: (585) 245-5826 EMAIL: myers@geneseo.edu Helen Myers is an Associate Professor at the State University of New York at Geneseo, and a certified Pilates instructor. She has taught at The Ohio State University, Kent State University, Ohio Wesleyan, New Mexico State University, and Eastern New Mexico University, where she was given an Award for Teaching Excellence in 1995 from the Secretary of State of New Mexico. She received her M.F.A. from The Ohio State University, and was awarded the national Graduate Research Award in 1992 for her research in dance expressionism. Helen Myers choreographs, teaches, and performs as a free-lance artist in New York. Her work is often multi-media, blending dance, theatre, and video. She takes a wry look at current issues, and enlarges her personal experience into more universal themes. She has trained and appeared as a guest performer with the Bill T. Jones/Arnie Zane Company, The Twyla Tharp Dance Company, and The Invisible People Mime Theatre; and was a member of The Moving Arts Company and the Tom Evert Dance Company. Her multi-media duet "Food for Thought," choreographed with Jill Pribyl, was presented at the Chashama OASIS Festival in N.Y.C. in 2002. Paula Citron of

55. Kirchner's Tapestry A history of expressionism would have to give him a deal of room on account body and the dance Kirchner s Swiss work as expressionism (by Colin Rhodes, http://www.frontlineonnet.com/fl1901/19010680.htm

Volume 19 - Issue 01, Jan. 05, - 18, 2002 India's National Magazine from the publishers of THE HINDU Table of Contents ART Kirchner's tapestry The expressionist as painter, sculptor - and more. HANS VARGHESE MATHEWS ERNST LUDWIG KIRCHNER's would be one of the best known names among the painters who are called expressionists, and anyone with an interest in 20th century art is likely to have come across his work somewhere. A history of Expressionism would have to give him a deal of room on account of the painting alone, certainly; but his sculpture in wood interests the eye as much as the painting does, nowadays at least, and though that may be due to the relative dearth of sculpture one would want to call expressionist, the fact is worth noting. It is not entirely surprising that Kirchner should have carved well, of course; a serious study of his work would have to talk about how the woodcut print shaped the painting - especially since Kirchner used the medium himself - and one can see that it did do so when a work like The Street of 1908 is set next to the more characteristic Women in the Street of 1915. The fact remains, though, that Kirchner is known as a painter; and the career of the epithet "expressionist" in talk about 20th century visual art has made it seem as if painting best serves the impulses behind the work labelled so (whatever those impulses may be). Now, from the look of the painting one hardly expects that an expressionist painter will take to designing tapestry: and if what one most easily recognises as Kirchner's work is the painting done in the three or four years preceding the First World War, it will seem very surprising that he should have done so.

56. The Journal Of Textual Reasoning Among the varied forms of European modernism, expressionism was unique in Puppets were the cipher to the faith in machines, theater, and dance at the http://etext.lib.virginia.edu/journals/tr/volume3/braiterman.html

Volume 3, Number 1 June, 2004 Against Leo Strauss Zachary Braiterman To paraphrase Franz Rosenzweig, if twentieth-century Jewish thought proceeds with the destruction of German Jewry from the sure path of the German liberal tradition set by Mendelssohn out into the void of pure pathlessness, then chronologically, the early Jewish thought of Leo Strauss, written during the 1920s and early 1930s provides the logical next-step, not out of, but into that nothing. And that is where the problem with the Jewish thought of Strauss begins. In the acid clarity brought to the choice between reason and revelation and to the challenge posed to the blending of God's voice and human expression in the work of Cohen-Buber-Rosenzweig, Strauss represents the Feuerbach , the fire stream through which contemporary Jewish thought must either pass or over which it must vault. Not just a body of work, the early Jewish thought of Leo Strauss stands in for the historical juncture that gave it shape, a vociferous and anti-liberal form of antimodernism that reinscribes the history of modernism at its nadir. The early Jewish thought of Strauss reflects the new sobriety of Weimar Germany after the demise of Jugendstil and German Expressionism.

57. Ballet-Dance Magazine - Improvisation And Ballet - P.A.R.T.S. - Part 1 Rudolf von Laban (of danceexpressionism fame) developed a notation-system withwhich to transcribe human movement of any sort. On first glance, I referred http://www.ballet-dance.com/200405/articles/PARTS20030625a.html

main forum criticaldance features ... Subscribe to the monthly for free! Email this page to a friend: Advertising Information De Keersmaeker, Adorno, and the Laban Cube:   Improvisation and the Ballet P.A.R.T.S. - 'First Take' First of two parts by Maria Technosux ITs Festival, Amsterdam 25 June 2003 Anne Teresa de Keersmaeker got together for a workshop with a group of her pre-graduate dance students from her P.A.R.T.S. school in Brussels. It was decided that they were going to improvise to the music of the First Take (hence the title of the choreography) of "Kind of Blue" by Miles Davis. This all doesn't sound like such a big deal for a (pre)graduate project, and visually it wasn't. It's the awareness of what has preceded it, the knowledge of the roots of its soul, that makes for a much more interesting visual experience. De Keersmaeker, celebrated choreographer of the Belgian contemporary dance-company Rosas, has in the past years developed an increasing interest in jazz music. Live jazz music formed the backbone of her most recent creation for Rosas, "Bitches Brew/ Tacoma Narrows". With jazz came an increased interest in improvisation: Jazz musicians improvise, jazz is an improvisatory art, so when we dance to jazz, we dancers will improvise just like the musicians do. As for me personally, jazz music isn't really my thing. The only halfway jazz-inspired records in my record-collection are a Soul Coughin cd, a tape of Red Snapper songs, a handful of Drum N' Bass songs full of looped jazzy upright bass samples, and a few songs from Bjork's "Gling Glo" (where she sings several jazz-classics in translated in Islandic!). As for pure, undiluted jazz, I simply don't like that music.

58. Biblioteka Uniwersytecka UMK. Archiwum Emigracji. David A. Goldfarb expressionism AND THE VISUAL IN JÓZEF WITTLIN S HYMN OF HATRED and finallyto the regular dance rhythm of the fourbeat line punctuated by the http://www.bu.uni.torun.pl/Archiwum_Emigracji/Goldfarb.htm

EXPRESSIONISM AND THE VISUAL IN JÓZEF WITTLIN'S "HYMN OF HATRED" David A. GOLDFARB (USA) Kasimir Edschmid, forced to label the metaphysical consciousness of the reaction to impressionism in Berlin, stated in 1918: The Expressionist poet does not see, he beholds. He does not describe, he experiences. He does not represent, he forms anew. He does not accept, he seeks. Now there is no longer a chain of facts: houses, factories, sickness, whores, screams and hunger. Now there is the VISION of these things. Facts are significant only in so far as the hand of the artist reaches through them to grasp what lies beyond. He sees what is human in a whore, what is divine in a factory. He weaves the individual phenomenon into that great pattern, which goes to make up the world. By nature any such attempt to explain Expressionism betrays the spirit of the enterprise, but it is cast as part of a manifestothe only genre which could impart the emergent, revolutionary character of the movement to what was an otherwise reflective, intellectual activity. "Facts" for Edschmid stood in the way of reality. In the face of the demonstrations of Wittgenstein and the Logical Positivists who would argue more and more that we could never know "things" but through "acts," the Expressionists sought to produce art which achieved its effect without any intellectual mediation or logical calculus. The Expressionists attempted to create pure "VISION"sense perception in itselfand not the knowledge produced by vision.

59. H2O - The Mystery, Art, And Science Of Water: Water And Dance She is a leader in a dance style called German expressionism. Pina Bausch s worldis one of relationships between people, how men and women deal with their http://witcombe.sbc.edu/water/dance.html

A Sweet Briar College Learning Resource H O - The Mystery, Art, and Science of Water WATER and DANCE Professor Mark Magruder When one looks at water in nature it is almost always in motion. When a human being is moving through space using the elements of time and energy, a dance is occurring. Dancing on water is quite hard, a feat that would evoke much discussion. Christ was said to walk on water and people are still commenting on this impossibility. Dancers have to use illusions brought on by technical effects to create the above feat. Karoliina Kettunen Spirit of the Lake Water is a source of impetus for many choreographers. Water manifests itself many ways on this planet. Lakes, streams, rivers, geysers and oceans all can be catalysts for a piece of choreography. Dancers can glean emotions from water. Water can be tranquil like a still cirque lake in the Rocky Mountains or wild like a hurricane brewing in the Atlantic and pounding the Outer Banks. Visually the sundown or sunrise over water can be arresting and can give one a whole color scheme for costumes or lighting. In 1581

60. Library Research Workstation: Expressionism, Epic, & Absurdism Find articles here on dance, film, television, drama, theater, stagecraft, **There are so many resources on art and expressionism in Orbis that a simple http://www.library.yale.edu/humanities/theater/instruction/expressionism.htm

This web page is an online workshop for students in David Krasner's Theater Studies 375a, Topics in Drama and Performance. This guide should provide a framework and a starting point for research, but there are also people to help with specific questions. The library has several research workshops that expand on the online tutorials provided here and there is always a reference librarian who can help at the Reference Desk in Sterling Memorial Library. Barbara Rockenbach Instructional Services Librarian, Arts Library September 10, 1999 Table of Contents: 2. Finding... short critical essays in reference books theater reviews in magazines and newspapers Selected Bibliography People and Places to know in the Yale Library Library Research Workstation -The Yale University Library Research Workstation is the primary gateway to all of the Library's electronic resources (including Orbis ), as well as information about print and manuscript collections.

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