• Introduction


• 01. Nadine George-Graves: Magnetic Fields: Too Dance for Theater, Too Theater for Dance


• Section I: In Theory/In Practice


• 02. Ann Cooper Albright, Split Intimacies: Corporeality in Contemporary Theater and Dance


• 03. Anita Gonzalez, Negotiating Theatrics: Dialogues of the Working Man


• 04. VK Preston, "How do I touch this text?": Or, The Interdisciplines Between: Dance and Theatre in Early Modern Archives


• 05. Ray Miller, Dance Dramaturgy


• 06. Vida L. Midgelow, Some Fleshy Thinking: Improvisation, experience, perception


• Section II: Genus (part 1)


• 07. Maiya Murphy, Fleshing Out: Physical Theater, Postmodern Dance, and Som[e]agency


• 08. Stacy Wolf and Liza Gennaro, Dance in Musical Theatre


• 09. Colleen Dunagan, Dance and Theater: Looking at Television's Deployment of Theatricality Through Dance


• 10. Susan Leigh Foster, Why Not 'Improv Everywhere'?


• Section III: Genus (part 2)


• 11. Royd Climenhaga, A Theater of Bodily Presence: Pina Bausch and Tanztheater Wuppertal


• 12. Praise Zenenga, The Total Theater Aesthetic Paradigm in African Theater


• 13. Jane Baldwin, Jean Gascon's Theatricalist Approach to Molière and Shakespeare


• 14. Marianne McDonald, Dancing Drama: Ancient Greek Theatre in Modern Shoes and Shows


• Section IV: Historiographical Presence and Absence


• 15. Ketu H. Katrak, The Post Natyam Collective: Innovating Indian Dance and Theatre, Abhinaya and Multimedia


• 16. Odai Johnson, Dancing for Dionysus in the Year of Years


• 17. Erika T. Lin, A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations


• 18. Esther Kim Lee, Designed Bodies: A Historiographical Study of Costume Design and Asian American Theatre


• 19. Ann Dils, Moving American History: An Examination of Works by Ken Burns and Bill T Jones


• Section V: Place, Space and Landscape


• 20. Amy Strahler Holzapfel, Landscape Between Dance and Theatre: Meredith Monk, The Wooster Group, and The TEAM


• 21. Anne Flynn and Lisa Doolittle, Colonial Theatrics in Canada: Managing Blackfoot Dance During Western Expansionism


• 22. Sally Ann Ness, A Slip on the Cables: Touristic Rituals and Landscape Performance in Yosemite National Park


• 23. Michael Morris, Orientations as Materializations: the Love Art Laboratory's Eco-Sexual Blue Wedding to the Sea


• Section VI: Affect, Somatics and Cognition


• 24. Petra Kuppers, Social Somatics and Interactive Performance: Touching Presence in Public


• 25. Amy Cook, Bodied Forth: A Cognitive Scientific Approach to Performance Analysis


• 26. Sondra Horton Fraleigh, Images of Love and Power: Butoh, Bausch, and Streb


• 27. Darcey Callison, Thoughts on the Discursive Imagery of Robert Lepage's Theatre


• Section VII: Unruly Bodies


• 28. Patrick Anderson, A Slender Pivot: Empathy, Public Space, and the Choreographic Imperative


• 29. Halifu Osumare, Conjuring Magic as Survival: Hip-Hop Theater and Dance


• 30. Thomas Postlewait, 'Court Wonder': The Performances of the 'Queen's Dwarf' in the Reign of Charles I


• 31. Krista Miranda, 'What do Women Want, My God, What do They Want?': Mimeses, Fantasy, and Female Sexuality in Ann Liv Young's Michael


• Section VIII: Biopolitics


• 32. Daphne P. Lei, Dance Your Opera, Mime Your Words: (Mis)translate the Chinese Body on the International Stage


• 33. E.J. Westlake, El Güegüence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing


• 34. Jade Power Sotomayor, From Soberao to Stage: Afro-Puerto Rican Bomba and the Speaking Body


• 35. William Givens. Lindy Hop, Community, and the Isolation of Appropriation


• Section IX: National Scales and Mass Movements


• 36. Sandy Peterson, Russian Mass Spectacle and the Bolshevik Regime


• 37. Marie Percy, Movement Choirs and the Nazi Olympics


• 38. J.L. Murdoch, Talchum: Korea's masked folk dance-drama


• 39. Kim Marra, Circus Echoes: Dancing the Human-Equine Relationship Under the Millennial Big Top


• 40. Neal Hebert, Capitol City Camp: Gay Carnival and Capitalist Display


• Section X: Infection


• 41. Miriam Felton-Dansky, Borrowed Crowds: The Living Theatre's Contagious Revolution


• 42. Marlis Schweitzer, The Salome Epidemic: Degeneracy, Disease, and Race Suicide


• 43. Virginia Anderson, Choreographing a Cause: Broadway Bares as Philathroproduction and Embodied Index to Changing Attitudes Toward HIV/AIDS


• 44. Michael Lueger, Dance and the Plague: Epidemic Choreomania and Artaud

Nadine George-Graves is Professor of Theater and Dance at the University of California, San Diego. She is the author of The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theater, 1900-1940 (2000) and Urban Bush Women: Twenty Years of Dance Theater, Community Engagement and Working It Out (2010) as well as numerous articles on American theater and dance.

The Oxford Handbook of Dance and Theater brings together genres, aesthetics, cultural practices, and historical movements that provide insight into humanist concerns at the crossroads of dance and theater, broadening the horizons of scholarship in the performing arts and moving the fields closer together. In doing so, it demonstrates that physical performance and the intersections of theater and dance are more than musical theater, story ballet, or contemporary dance theater.