Author:
Publisher:
ISBN:
Category :
Languages : fr
Pages :
Book Description
Recueil factice de programmes, articles de presse, documents, références concernant l'activité du Studio d'art dramatique de Paris, de 1930 à 1932
Recueil factice de programmes, articles de presse et documents concernant l'activité du Studio des auteurs, de 1932 à 1937
Recueil factice d'articles de presse, programmes et documents concernant l'Exposition de l'art dramatique, pour la défense et l'amour du véritable art dramatique, en 1932 et 1933
Recueil factice d'articles de presse, programmes et documents concernant le Studio féminin, en 1932 et 1933
Recueil factice d'articles de presse et de références concernant le studio de Paris. Juin 1932-avril 1933
Recueil factice de programmes, d'articles de presse, de références et de documents concernant les spectacles donnés au Studio des Champs-Elysées. 15 nov. 1923-mai 1948
Recueil factice d'articles de presse, billet, prospectus concernant les spectacles du Studio d'art dramatique l'Assaut, en 1928
Le Tumulte Noir
Author: Jody Blake
Publisher: Penn State Press
ISBN: 9780271017532
Category : Art
Languages : en
Pages : 232
Book Description
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
Publisher: Penn State Press
ISBN: 9780271017532
Category : Art
Languages : en
Pages : 232
Book Description
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.