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Dance History > Exam 3 > Flashcards

Exam 3 Flashcards

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1
Q

George Balanchine

A

NYC Ballet’s repertory is dominated by his choreography- created the company’s style
Distorted the classical technique using contemporary music- unexpected shifts of weight and energy- his choreography is American in spirit
His work was neoclassical- simple spacing, speed
Emphasized women- liked long legs and thin body
Costumes and sets were simple
Best known for his plot less ballets

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2
Q

The Prodigal Son

A

One of Balanchine’s two surviving works from the Ballet Russes
Composed by Prokofiev

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3
Q

Apollo

A

Part of Balanchine’s famous Greek Trilogy
Composed by Stravinsky
One of Balanchine’s two surviving works from the Ballet Russes

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4
Q

Orpheus

A

Part of Balanchine’s famous Greek Trilogy

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5
Q

Agon

A

Part of Balanchine’s famous Greek Trilogy

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6
Q

John Durang

A

Most important dancer in the 1700s

Know for his hornpipe dance

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7
Q

Mary Ann Lee

A

One of four major ballet stars in 1800s

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8
Q

Julia Turnbull

A

One of four major ballet stars in1800s

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9
Q

Augusta Maywood

A

One of four major ballet stars in1800s

Influenced musical theater

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10
Q

George Washington Smith

A

One of four major ballet stars in1800s

Partnered Elssler on her tour to America

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11
Q

The Black Crook

A

1866
story about a pact with the devil
success prompted many copies which toured
local dancers were hired for the chorus
had to be trained quickly, simple steps/patterns

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12
Q

Ballet Russes de Monte Carlo

A

The foreign rival to American ballet during the 1930s
Founded in 1932 by Rene Blum and Colonel Wassili de Basil
Presented old favorites by Diaghilev & new works by Massine
Was made up of some of the Ballet Russes dancers plus three baby ballerinas
Factions split off from company because neither founder had the skills of Diaghilev and fights over legal rights to ballets became an issue
After Diaghilev died, it split into 2 companies:
De Basil’s Original Ballet Russe
Ballet Russe de Monte Carlo- directed by Sergei Denham and choreographer Massine, loved by America
Both companies spread ballet in America but also contributed to the idea that ballet was foreign (foreign names)

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13
Q

Lincoln Kirstein

A

Known as the American Diaghilev
Novelist, poet, critic- not a dancer or choreographer
Wanted an American ballet company/school with American dancers and American style
Founded NYC Ballet

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14
Q

Serenade

A

Part of the NYC Ballet repertoire
Choreographed by Balanchine
Used dancers’ mistakes, a fall or a late entrance

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15
Q

On Your Toes

A

Broadway show choreographed by Balanchine

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16
Q

Stars & Stripes

A

Classic American ballet choreographed by Balanchine

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17
Q

New York City Ballet

A

In 1933 Lincoln Kirstein and Edward MM Warburg persuaded Balanchine to come to US to direct
School of American Ballet opened in 1933
Went through many name changed before NYC Ballet
Early performance were not well received by NY Times- said works were not American enough
Kirstein continued as general director after Balanchine’s death in 1983
Peter Martins and Jerome Robbins became ballet masters

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18
Q

American Ballet Theatre

A

Founded in 1939 as Ballet Theatre, as an outgrowth of the Mordkin Ballet
Established to present the classics and new works by Mordkin in the Russian style

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19
Q

Richard Pleasant

A

First director of American Ballet Theatre

Wanted the company to be a “museum of dance” with many examples of periods and styles

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20
Q

Lucia Chase

A

American dancer and wealthy widow
Cofounded Ballet Theatre in 1940 with Kirstein
Became sole director after Pleasant resigned in second season

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21
Q

Oliver Smith

A

Scenic designer who supported the emergence of American ballet
Became co director of Ballet Theatre with Chase in 1945 until 1980
Did scenic design for Rodeo and Fancy Free
Also designed for Broadway and film

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22
Q

Agnes de Mille

A

Was important to American ballet because of her American subject matter

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23
Q

Rodeo

A

Choreographed by Agnes de Mille in 1942 for Ballet Russe
Music by Aaron Copland
Ballet about a tomboy cowgirl

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24
Q

Fall River Legend

A

Choreographed by Agnes de Mille for ABT

Story of Lizzie Borden

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25
Oklahoma!
Choreographed by Agnes de Mille | Most know for the dream ballet
26
Jerome Robbins
Greatly influenced the American style Was THE MOST important native/American ballet choreographer His ballets treat the dancers as people who interact intimately with one another and the audience and portray real emotions
27
Fancy Free
Choreographed by Jerome Robbins in 1944 | About 3 sailors on leave during WWII
28
Dances at a Gathering
Created in 1969 by Jerome Robbins for NYC Ballet Plotless ballet for 5 men and 5 women Set to Chopin Reveals different moods and interpretations
29
The Cage
Choreographed by Jerome Robbins for NYC Ballet in 1951 | A horror story about female insects that kill their mates after copulation
30
Afternoon of a Faun
Revived by Jerome Robbins Portrayed the 2 figures as dancers The P2 was set in a rehearsal studio
31
Joffrey Ballet
Founded in 1956 by Robert Joffrey Several dancers toured one night stands Seasons eventually developed in NY and LA Joffrey died in 1988
32
Dance Theatre of Harlem
Founded in 1968 by Arthur Mitchell Prior to this, little opportunity for blacks to perform in ballet Eventually, a few black dancers were accepted into major ballet companies
33
Arthur Mitchell
Founder of Dance Theatre of Harlem
34
Maria Tallchief
Born on Oklahoma reservation Danced with Ballet Russe de Monte Carlo Major dancer with NYC Ballet Balanchine’s 3rd wife
35
Jacques d’Amboise
Established the National Dance Institute for dance outreach into schools
36
Suzanne Farrell
NYC Ballet’s leading dancer in 1960s | Inspired Balanchine, known as his muse for many ballets
37
The Royal Ballet
Ninette de Valois Went through several names and formats before becoming the Royal Ballet Founded for the community, not just aristocrats Fredrick Ashton became director in 1963
38
Ninette de Valois
A Ballet Russe dancer, but Irish born | Founded The Royal Ballet
39
Fredrick Ashton
Became the leading comic choreographer Also did tender, gracious, lyrical works Raised in South Africa Became director of the Royal Ballet in 1963
40
Anthony Tudor
Choreographed for the Ballet Club under Marie Rambert | Moved to the US to work for Ballet Theater
41
Margot Fonteyn
Leading English ballerina from 1930-1970 Great at Ashton’s lyrical style Known for her emotional expressiveness Part of the most famous partnership in history with Nureyev
42
Bolshoi
Russian ballet company | Prides itself on flair
43
Kirov
Russian ballet company | Unequalled in purity of style
44
Isadora Duncan
Mother of modern dance Rebelled against oppression of the human race and corseted ballet Natural born dancer and free spirit, feminist Went abroad to find appreciation Inspired barefoot dancing in Europe and America Costumes- simple tunics/robes, sometimes see through or danced bare breasted Was able to stir audiences deeply- much emotion Used rhythmic sequences and simple movements Her and her children died in car wrecks
45
Ruth St. Denis
More disciplined than Duncan Attracted to romantic/mystic styles, also show biz glamour Egyptian Deities cigarettes inspired her Isis Dance technique/style emphasized oriental life Founded the dance dept at Adelphi College in NY
46
Ted Shawn
Took up dance as physical therapy In relationship with St. Denis and formed Denishawn School with her Started Jacob’s Pillow Founded an all male dance company
47
Denishawn
Founded by Ruth St. Denis and Ted Shawn Denishawn style combined many techniques: Stretching, ballet barre, free movement, oriental technique
48
Jacob’s Pillow
Annual dance festival in Berkshires | Founded by Ted Shawn
49
Mary Wigman
Most famous choreographer in Germany Started as a musician Known for representing Germans through modern dance Style was very rooted to the earth Works were dark and mysterious and had a fatalistic outlook: death, witches, war
50
Hanya Holm
Choreographed for Broadway (Kiss Me Kate, My Fair Lady) One of Wigman’s dancers Brought the German style of modern to US Opened a branch of the Wigman school in US, renamed it Hanya Holm Studio Wanted to disassociate herself from Hitler’s Germany
51
Martha Graham
Attended Denishawn school after her father’s death Father was a psychologist and influenced her work Technique based on breath, contraction, and release Very sharp and angular, not fluid or flowing Had very ritualistic classes Had strict rules on attire, valued appearance Many of her themes dealt with American culture Would split central characters into multiple bodies to portray different emotions Should have stopped performing, but had a hard time letting go
52
Doris Humphrey
Technique was based on fall and recovery Attended Denishawn school Opposite of Graham in personality and choreography Liked to utilize many dancers on the stage Author of “The Art of Making Dances” Worked to balance work and family Stopped dancing at 40, but still choreographed
53
Jose Limon
Studied dance with Humphrey-Weidman for 10 years Formed the Jose Limon Dance Company in 1946 with Doris Humphrey as artistic director and co-choreographer Provided a strong role model for men in modern dance Works were usually based on a literary theme, translating the emotional high points into a choreographic form
54
Charles Weidman
Studied at Denishawn Created Humphrey-Weidman Studio with Doris Humphrey Worked with sculptor Mikhail Santaro to produce mixed-media pieces Choreography was a blend of mime, comedy, and wit One of the first to explore kinetic pantomime His dances celebrated the incongruities of human encounters
55
Helen Tamiris
Dancer, choreographer, and director Formed Tamiris-Nagrin Dance Company with husband Daniel Nagrin in 1960 Remembered for her dances based on Negro spirituals and contributions to American musical theater President of New Dance Congress
56
Lester Horton
Formed the Horton Dance Theater and School in 1942. Was the first company that include blacks, Mexicans, Japanese, and Caucasian dancers Choreography often related to social activism Productions relied on costuming and décor for a sense of total theater experience His technique expands the body’s movement range and builds a strong versatile dancer
57
Bella Lewitzky
Developed a movement technique with Horton which was codified in the 1950s
58
Katherine Dunham
Dancer, choreographer, anthropologist, teacher, and writer Founded a student company at University of Chicago in 1931 called Ballet Negre Founded Negro Dance Groups Opened the Dunham School of Dance and Theater in 1945 Created a repertory of dances that explored diverse themes, folklore, and ideas Wanted to make Negro dance a respectable art
59
Alvin Ailey
Known as the first chronicler of the black experience Studied and performed with Horton and directed the company after his death Founded Alvin Ailey American Dance Theater in 1958 Choreography uses Horton technique as a basis, with African overtones and jazz dance components
60
Alwin Nikolais
Did it all, choreography, composed electronic scores, designed scenery, and lighting Started his study of dance at a Wigman branch His choreographic content lies in the art from itself, as opposed to the work of earlier modern dancers Used costumes to change the body’s shape Dancers in his works were unisex, it wasn’t about the relationships among dancers. He wanted the audience to think of their relationship to the environment
61
Avant-Garde Movement
As modern dancer developed technique and schools, they became almost too polished and ballet-like In the 1950s and 1960s, the avant-garde (forward thinking) style was developed to counter this Broke down barriers
62
Merce Cunningham
Studied with Graham Asked to choreograph Broadway piece but withdrew Choreographic theories: Chance and indeterminacy- prepared many dance sequences and flips coin to choose their use in piece Stage space an open field-gives equal importance to all parts of the stage Components of dance productions separate entities, music, choreography, costumes, lights don’t have to go together Dance was about movement, dancers were expressionless
63
Paul Taylor
Started as a painter, didn’t dance until his 20s Performed with Cunningham and Graham Was a choreographic chameleon Took company member’s personal qualities into consideration when choreographing
64
Pilobolus
Dance company, makes shapes and tells stories by molding their bodies together Started at Dartmouth College Group of 6 dancers who create collectively
65
Twyla Tharp
Came into the scene in the 1960s Had a wide range of training all over the country Danced with Paul Taylor’s company Designs her pieces to work out a problem through structure Uses sharply thrusting steps and off—handed shrugs in her work Has choreographed for Broadway, TV, ballet, and movies Most famous work- Movin’ Out

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