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| Who created neo-classical ballet? |
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| who was hired by diaghilev to choreograph for ballet russe |
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| who had a life long collaboration with musician stravinsky? |
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| He met lincoln kristen and she convinced him to move to the US. After diaghilev died this guy was touring around europe. |
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Who's style is this?
-ballet grounded in music
-most ballets were without a polot, some narrative and mood pieces
-no strong characters or emotions
-simple spacial groupings |
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whos style is this?
-fast brillant foot work, speed, endurance
-body type small head, long arms and legs
-women are ballet
-see the music, hear the dance
-leotards, minimalist
-feet parellel
-moving through space in point or flats
-different arm positions |
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| Established a ballet school to train dancers in his technique. "School of American Ballet" |
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-established smaller pick up companies
-choregoraphed over 17 broadway shows
-did musical theatre
0went to hollywood, did movies and circus |
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george balanchine
done in us |
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| Established New York City Ballet Company |
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-began in 1948 as part of new york city center
-created a ballet company that believed that ballet is an art which the visual spectacle is the essential element
-wanted to create impression of intensity and beauty
-choregoraphed 300 ballets in his lifetime |
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| george balanchine and his new york city ballet company |
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Apollo 1928
western symphony 1954
jewels 1965
union jack 1976 |
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-first significant american choregrapher
-trained in variety of styles: ballet, spanish, modern
-wide vocab movement
-choregraphy about emotional relationships
-more psychological than pure tecnical, unlike balanchine |
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Fancy free
-in 1944 during world war 2
-composer "leonard bernstein"
-a jazz ballet, light in mood |
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afternoon of faun
-in 1953
-reworking of the nijinsky classic
-set in dance studio, 2 dancers |
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Factors of ________ dance development
-wanted to rebell against ballet
-explore middle of body
-bare feet
-treatment of space as 3d
-use free swinging motion of whole bodey
-expressses feelings and ideas
-individual is key |
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| Developed eurthymics, a system of rhythmic analysis of music using the body. does not have emotional content. used as a techniquie for strengthing dancers. not dance |
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| created by emile dalcroze (1865-1950) |
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-American dancer-rejected ballet
-most successes were in europe and russia before world war 1
-stood for an expressive, heroic kind of dance |
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1. movement sprang from emotional exspression
2. body and soul harmonious, dancing the freedom of women
3. called her art the renassance of the greek ideal
4. movement vocab, natural breathing, running, skipping, simple movement
5. themes of humanism, feminism, populism |
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-the mother of modern dance
-influenced by dances of asia and middle east
-began in theatre, driven by worldly passions and spirtuality
-wanted a partner |
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-1877-1968
-theatricality and music visualization
-"incense" "white jade" "nautch dance"
-theatricality: set design, costume |
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-1891-1972
-ruth st. denis partner from 1914-1930
-created denishawn school and company
-toured in us and overseas
-introduced dance to america is a more populist way |
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-first school in LA, run by ted
-ecletric dance curriculum: ballet, dances of other countries, yoga, music theory, eurthymics, makeup , music visualization, drapery.
-famous students: martha graham, doris humphrey, charles weidman, jack cole |
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| Denishawn school and company |
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-shawn left denis is 1931 and moved to western MA
-started male modern dance comapny 1933-1940
-set out to change how males were regarded in the world of dance
-themes for dancesL war, labor, sport, male heoric figures
-mostly preformed in summer |
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| Jacobs pillow run by ted shawn |
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-gave high level of theatricality and costume
-ethnic dances
-fostered idea of music visualization
-wonderful gift for movement and performance |
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-fostered idea that man had place in dance world
-used american life in dance
-lasting legacy at jacobs pillow
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| High Priestess of modern dance |
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-1926 first independent choreography concert at 32
-development with relationship between louis horst, personal and professional
-development of graham style and technique |
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-breath contraction, release
-sense of weight going to the floor, using hips and knees as a hinge
-flexed foot, parallel movements
-no rounded port de bras
-function of dance was to communicate!
-sparse, no ornamenations
-sets: sculptural, symbolic (Isamu Naguchi)
-music: comissioned and original (Arnold Copland) |
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| graham technique of martha graham |
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Lamentation-1930
El penitente-1940s
Appalachian Spring-1944
Errand into the Maze-1950
Maple leaf Rag-1990 |
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-summer study program that developed the modern dance movement in the 1930s.
-four major dance pioneers taught and choreograhped there: martha graham, doris humphrey, charles weidman, hanya holm |
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-first male to join martha graham company
-had personal and professional relationship with her for 12 years
-el penitente-first dance choreographed for him |
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| The Humanists of modern dance |
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| doris humphrey, charles weidman |
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____________'s technique
-central idea: fall and recovery
-moving between equilibrium and gravity
-explored basic elements of dance: time space, weight, energy
-made dance independent of music
-structure: formal process of choreography
-abstract ideas could be danced |
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-keen observer of physcial and emotional behavior
-curiousity about the body
-non-verbal thinker
-good eye and sensitive ear
-musically literate
-speed, resourcefulness and judgement
-language skill-articulate verbally
(also spends summers at benningtons) |
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-one of the first modern dances in extended length
-symphonic in structure
-abstract in concept
-the message of disunity, disorder, speratisim, and organization |
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| New Dance by Doris Humphrey |
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Day on Earth
-originally choreographed for Jose Limona, former company member
-described as an exquisite pastarale of family lfe. with both pain and joy |
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| day on earth by doris humphrey |
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-true comic in dance, gifted in humor and mime
-called his choreography "kinetic pantomime" which involved neither storing telling gesture nor other conventions of a narrative
-collaborated with doris humphrey and helped develop movement technique |
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-student of rudolf van laban-inventor of laba notation.
-part of german exspressionalism movement
-space: kinesphere |
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Characterstics of ________'s dance
-primitive, symbolic themes
-female as an outsider
-mvements were low, crawling, kneeling,courching,
-focus is down
-strong intense movement
-often danced to percussion
-dances reflected apolcalptic state of society |
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-student of mary wigman
- came to 1931 to set up branch of wigman's school
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________'s philosophy of dance
-study of movement of body: gravity, momentum
-space conciousness
-dancers challenged as an individual |
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-one of the four modern dance pioneers at bennington summer dance festival
-"trend" first dance to gain public attention
-became a broadway choreographer in later career
-kiss me kate, my fair lady, camelot
-esablished own summer school in colorado springs |
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-began dance later in life...wanted to be a painter
-disciple of doris humphrey, began working with her in 1930.
-after WW2, went off on his own and doris humphrey became his artistic director |
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-exspressive conflict with music
-based on shakespheres othello
-in ABABA form
-4 characters
-use of gestures |
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The Moors Pavanne 1949
Jose Limon |
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-worked with martha graham
-broke with the avant garde choreographers in the mid century
-interested in more accessible dancess, more in lineage of limon and humphrey
- uses modern or ballet vocab
-espressive qualities, sensitivity to music |
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Esplanade
-uses pedestrain movement
-uses baroque music, highly structured
-reiterates a point made by george balanchine, the mere presense of characters on stage suggests plot.
-sense of dancers as a community |
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Snow White
-use of comedy+ parody
-costuming like disney
-innovative movement for dwarves
-stage space, limited to floor cloth
-narrative sotry telling |
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-rebellion of conventional dance
-too many imitators of pioneers
-dance became empty, mechanical
-social changes: vietnam, hippie stuff
-happenings |
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| why dance changed in 60's |
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-father of avant garde modern dance
-began career with martha graham, left after 5 years to start own company
-john cage, significant other as well as musical collaborator |
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__________'s choreography
-dances were about movement, no emotion, abstract, not done in time to music
-no formal principle of dance, composition up to dice rolls and chance
-"rainforest" "points in space" "split sides" |
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-studied with hanya holm
-was primarily a musician, gradually added movement to his music
-an early experimenter in electronic music alsong with John cage
-he did it all,choreographing, music lighting...etc |
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-motion, not emotion
-content lies in the art form, not in dramatic, psychological, or emotional statement
-abstract design over emotional communication
-designs all aspects of production
-often dances appear unisex
-structured dances "gallery" |
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-want to reduce dance to pedestrian movements
-discover what dance is
-elimmating theme, story line
-development of alternative spaces: street, loft |
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_____ modern choreographers
-david gordan: member of judson dance theatre
-Trio A
-Twyla Tharp
-Pilobolus |
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| "An audience with the pope" "Yvonne Rainer" |
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| Pedestrain and task oriented material, post modern dance |
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| Retrograde, inversions, and reverse. "In the upper room" "The catherine wheel" |
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| choreographing collaboratively, begain in dartmouth college in early 70's |
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| Text introduced during post modern dance era, _____ ____ as an example |
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| Post-post modern dance choreographer. Had musicality, compared to balanchine, used variety of dance languages |
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| Post-post modern dance choreographer, pushing the boundries on ateleticism and theatricality |
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