000			01396nab a2200181 c 4500
001			myd_82730
003			ES-MaCDM
005			20241001092953.0
008			181003s2008 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aMorris, Geraldine _9133817
245	0		_aVisionary Dances _b Ashton's Ballets of the Second World War _cGeraldine Morris
260			_c2008 _aEdinburgh: _bEdinburgh University Press,
520			_aRESUMEN: Save for a cursory reference, art history tends to ignore dance and in particular the work made by Graham Sutherland and John Piper for the choreographer Frederick Ashton during the early 1940s. By overlooking dance and its designs, other than those for the Ballets Russes, the art world is wasting a valuable resource. In the following article I consider how the collaborations between Ashton, Sutherland and Piper illuminate the extent to which both the ballets and their designs were products not only of the circumstances of the 1939-1945 war but also, in particular, the propaganda of the period. This article considers how the particular discursive formations that shaped Ashton's ballets and the work of the artists led to dances and designs that were unique in both Ashton's output and that of the two painters.
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 26, núm. 2, Winter 2008, p. 168
903			_a82730 _b82730
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999			_c120408 _d120408