The problem of recording movements of the human body is almost as old as the art of dancing: it has been said that the ancient Egyptians had a system of notation, but there is no real evidence to prove that this was so. The present system was developed by the Russian dancer Vladimir Ivanovich Stepanov at the end of the 19th century. It is based on existing music notation, and although basic is certainly practical: one has only to read the official testimonial, signed by such people as Petipa and Johanssen, to realise this. Lessons in the system were given at the Imperial Ballet Schools, and many ballets of the period were notated in it. Stepanov's book is no more than a skeleton key, showing the general principles of his system and their application, yet even as it stands it can be used to decipher old notations - it was by means of notations made in Stepanov's system that Nicolai Sergeyev was able to reproduce The Sleeping Princess for Diaghilev, and other ballets for the Sadler's Wells Ballet and International Ballet. More recently, other hands have used the system to revive ballets long thought to have been irrevocably lost.

Includes subject section, name section, and 1968-1970, technical reports.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

An examination of the ways human movement can be represented as a formal language and how this language can be mediated technologically. In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we move and what we understand to be movement. Humans communicate through movement, physically and mentally. To record and capture integrated movement (both bodily and mental), by means of formal language and technological media, produces a material record and cultural expression of our evolving kinetic minds and identities. Salazar Sutil considers three forms of movement inscription: a written record (notation), a visual record (animation), and a computational record (motion capture). He focuses on what he calls kinetic formalism—formalized movement in such pursuits as dance, sports, live animation, and kinetic art, as well as abstract definitions of movement in mathematics and computer science. He explores the representation of kinetic space and spatiotemporality; the representation of mental plans of movement; movement notation, including stave notation (Labanotation) and such contemporary forms of notation as Choreographic Language Agent; and the impact of digital technology on contemporary representations of movement—in particular motion capture technology and Internet transfer protocols. Motion and Representation offers a unique cultural theory of movement and of the ever-changing ways of representing movement.

First multi-year cumulation covers six years: 1965-70.

"In this book I have sought to help [the surgeons] by a re-statement of the principles which underlie the art of orthopœdic surgery. My chapters are based on a score of lectures given at the Royal College of Surgeons of England in the winter 1917-18 on "The anatomical and physiological prinicples underlying the treatment of injuries to muscles, nerves, bones and joints' ... I have sought .. to introduce [the reader] to the 'Menders of the maimed' as they were in the heyday of life. In only this way, I conceive can medical history be written."--Pref.

A novel about obsessive love featuring two ballet dancers—identical twin sisters Olivia and Clara Marionetta—with a terrifying climax set in the world of ballet in pre-war London. The Dance of the Dolls tells the story of identical twin ballerinas rehearsing for Coppélia at the recently opened Sadler’s Wells Theatre. Superficially, even their differences are complementary: Olivia aspires to be the perfect ballerina while Clara is rebellious and independent. Clara takes up a relationship with the bohemian and passionate Nathan, a pianist at the theater. Meanwhile, Olivia is unaware that she has cast a spell on another frequent visitor to Sadler’s Wells: Samuel, a bashful apprentice ballet shoemaker who steals into the building as often as he can to watch her dance. But as the sisters rehearse, danger lurks. The story of Coppélia and the dancing doll threatens to become a dark and sinister reality. Olivia becomes jealous of Nathan’s adoration of Clara, while Clara discovers that being adored can feel suffocating. Samuel dreams of being recognized by Olivia and wonders how far he would go to achieve his goal, while Nathan, a musical child prodigy, struggles to adapt to adulthood and begins to blur the lines between reality and his dark fantasy world . . .