Final Exam Flashcards
(124 cards)
1
Q
Louie Fuller
A
Developed skirt dancing (Danse Serpentine). An inventor and stage craft innovator (stage lights). Introduced Duncan to Paris. Fire Dance. Helped dance become an art form, not just entertainment
2
Q
Isadora Duncan
A
Loose clothing, movement from the chest. Manifesto proclaiming dance as natural expression for everyone. Philosophy of dance. Minimalist. Defend dance as a high art
3
Q
Ruth St. Dennis
A
Interested in exotic cultures. Incorporated Vaudeville into concert dance. Combined theatrical drama and contemporary concert dance. Collaborated with Ted Shawn to create Denishawn.
4
Q
Ted Shawn
A
promoted male dancer. Explored Ethnic Dance. Choreographed “Dreams of Jacob”. Partnered with Ruth St. Dennis to create Denishawn. Later developed Jacob’s pillow.
5
Q
Jacob’s pillow
A
Ted shawn bought a farm in Minnesota adn started a company “Ted Shawn and his male dancers”. began in 1933. Referred to the story in the bible. Has a pillow rock. Still used as a dance festival.
6
Q
20th century dance
A
Modern- created by and focused on women. Theatrical, social and classical ballet were the only types around until then.
7
Q
Women in 20th century
A
They had very few rights and were very restricted, even in clothing (corset). Many couldn’t go to school, read or write. They developed a rebellious spirit, valuing feelings and intuition. Artist to perceive “universal truths”. Fighting against the status quo.
8
Q
Modern Dance
A
Isn’t created for a patron, church, benefactor or court. Means of expressing by the artist. Addresses urban life and current issues. Used the body in ways never seen before.
9
Q
Fuller, Duncan and St. Dennis
A
All were born in the U.S. and gained fame in Europe. They were serious about dance as an art form, saw themselves as artists. Innovators that were widely imitated. Changed the clothing and costuming of dance. Represent the new “modern woman”
10
Q
Martha Graham
A
Studied at Denishawn, left to develop her own choreography. Influenced by art and music. Toured Europe, taught and then opened her own school in NY. Employed women and other races.
11
Q
Martha Graham Technique
A
contraction, relase and spiral. All begin in the pelvis
12
Q
Her Work
A
Cupped hands, contraction, bound, hair in big bun, minimalist, strong female centered. Lamentation, Appalachian Spring and Errand of the Maze.
13
Q
Martha Graham’s dancers
A
Merce Cunningham, Paul Taylor, Erik Hawkins, Betram Ross and Pearl Lang
14
Q
Louis Horst
A
Martha Graham’s composer, artistic mentor, BFF and sometimes lover. He pushed her to look at other art forms
15
Q
German Expressionism
A
Movement in the arts
16
Q
Ausdrucktanz
A
dance portion of germany’s art movement. Included light vs. dark, abstraction, distortion and exaggeration
17
Q
Rudolph Laban
A
Dance teacher and theoritican. He trained Mary Wigman and Kurt Joos. He developed dance choirs. Kicked out of Germany for removing himself from Nazi party. He moved to London and created Laban movement analysis- Labanotation
18
Q
Dance Choirs
A
Used as propaganda for the Nazi Party. Contained natural movement, regular clothes and performed everywhere. He was kicked out of Germany for removing himself from the Nazi Party.
19
Q
Mary Wigman
A
worked with Laban. Opened a school in germany. Strong emphasis on space, percussion and silence. She used masks adn explored deep and primitive emotions. Witch Dance
20
Q
Hanya Holm
A
Studied and performed with Wigman. Went to NYC and opened Wigman school. Divorced and became a single dancing mom. Embraced American ways. Taught Alwin Nikolais and Joann Woodbury.
21
Q
American Dance Festival
A
Outreach of Bennington College. Started by Graham, Holm, Humphrey and Weidman
22
Q
Doris Humphrey
A
Studied at Denishawn. Fall and recovery, ebb and flow, abstraction as a metaphor. Formal structure of choreographing. Concerned with choreographic technique and theory. Water Study. When her company disbanded she became artistic director of Jose Limon company.
23
Q
Charles Weidman
A
Went to Denishawn. Interested in combining dance and pantomime. Created humorous and satirical pieces. Started a company with Humphrey
24
Q
Jose Limon
A
started dancing with the humphrey-weidman. Strong, masculine, intense and dramatic dancer. Coached on the structure of choreography by Humphrey. Lots of gesture, mime, character development. His works include the moors pavane and missa brevis. His technique continues Humphrey’s work, increasing the release and dramatic gesture
25
Lester Horton
Original member of the Ballet Russes. Interested in Native American Studies. His company was one of the first integrated ones. Combined dance and theatre, on and off in the film industry. Trained Alvin Ailey and Bella Lewitsky. Work: the Beloved
26
John Cage
prolific composer, came up with ideas of what music is and how we hear. Skilled pianist, developed the prepared piano. Worked with Cunningham
27
Merce Cunningham
soloist in the Martha Graham company. Created new approach to dance and aesthetic. Company performed until Dec. 31 last year, almost lived to be 100. Worked with John Cage. Chance methods, music decor and costumes come together, used dance forms, pure movement
28
Alwin Nikolais
trained at Bennington College, toured with Hanya Holm. Has a company, originally called Henry Street Playhouse. Collaborated with Murray Louis, they fused dance with spectacle, environment dictates movement quality, dancers express properties of space not expression. Works: The crucible. Totally abstract
29
Robert Dunn
took ideas from John Cage, students were Trisha Brown and David Gordon.
30
Dance in the 1960's
Post-Modern
31
Yvonne Rainier
post-modern, repetition. No Manifesto: no spectacle, magic, glamour, hero, eccentricity, etc.
32
Sally Baine
Terpsnickery in sneakers Author
33
Steve Paxton
created contact improv, run into each other and find a way to the floor and get back up
34
Meredith Monk
theatrical and vocal
35
David Gordon
Talk and dance
36
Post-modern dance
experimentation, what is dance?, can be done by everyone, no gender roles, pedestrian costumes and movement, task oriented, became about doing, experience of performers, non-traditional performance venues, break rules and create new ones
37
Post-modern Choreographic Methods
chance, repetition, stillness, juxtaposition, only one idea, on-going activities, pedestrian, create rules and play games, site specific, cut-ups, quoting other artworks, used popular music and social dance
38
Mark Morris
Began flamenco dancing, in Lar Lubovitch's company. Purpose in visualizing music, his interpretation of the musical score. Usually classical music
39
George Balanchine
danced with the Mariinsky Ballet, met Diaghelev and joined the Ballet Russes. Came to the U.S. and met lincoln Kirstein, began SAB. formed AB caravan, ballet society and then NY city center asked them to become NYCB> Choreography was teaching methods for his students. Serenade, Jewels. Over 465 dances, director until he died. Neoclassical ballet
40
Neoclassical Ballet
deemphasizing plot, no frills or scenery, just dance, woman centered, beauty in line and form, some pieces are just black leo and pink tights, pelvis and hinging
41
Peter Martins
Principal dancer and later ballet master of ABT, co master with Jerome Robins and then director
42
Jerome Robbins
danced with Ballet Theatre, performed Petrouchka, choreographed fancy free which was made into the musical "On the town". Choreographed West Side story
43
American Ballet Theatre
Started by Mikhail Mordkin and Lucia Chase. First called Mordkin Ballet then ballet theatre and then ABT. Directors have been Lucia Chase and Oliver Smith, Mikhail Baryshnikov and now Kevin Mckenzie. ABT is a ballet repository that also produces new work. The major touring ballet company in the U.S.
44
Mikhail Mordkin
danced with Ballet Russes, formed the All Star Russian Ballet and the director of the Bolshoi. Came to the U.S. and started Mordkin ballet with Lucia chase, later became ABT
45
Agnes DeMille
Charter member of Ballet Theatre, Black ritual was her first work. Then she choreographed Rodeo for Ballet Russes and later set it on ABT. She choreographed the musical, Oklahoma
46
Antony Tudor
danced with ballet Rambert in London. Joined Ballet Theatre for the first season. Taught at Juilliard
47
Joffrey Ballet
Started by Robert Joffrey and Gerald Arpino, used to be based in NYC-LA-Chicago, now just Chicago. Toured with a station wagon adn u-haul. They were the hip and cool ballet company. There current director is Ashley C. Wheater
48
San Francisco Ballet
oldest professional ballet company in the U.S. First started as the SF opera ballet. Founded by Willam Christensen
49
Ballet Rambert
Founded by Marie Rambert in 1926 (as the Ballet Club). Name changed to Ballet Rambert and Rambert Dance Co. Choreographers were Richard Alston (overdrive) and Christopher Bruce (Hush
50
Marie Rambert
inspired by Isadora Duncan, danced with Ballet Russes but left with Nijiinski, married, opened her own school. Fredrick Ashton was one of her students
51
Royal Ballet
received a charter to become the Royal Ballet. Started by Ninnette de Valois who danced with Ballet Russes. Sir Fredrick Ashton was the 1st choreographer and later the artistic director.
52
Fredrick Ashton
Trained wiht Marie Rambert, understood musical score. First choreographer for the Royal Ballet and later the artistic director. Choreographed Cinderella
53
Stuttgart Ballet
former dancers are Jiri Kylian and William Forsythe. Resident choreographers: Christian Spuck and Marco Goele. Exaggerates and teases traditional ballet. Very Avant Gard. Glen tetley director, danced with Limon
54
Royal Swedish Ballet
one of the oldest european companies. August Bournonville spent time there. Shortly rivaled Ballet Russes before the war
55
Maurice Bejart
Bejart Ballet Lussanne. first in belgium and moved to Lussanne. Choreographed to Bolero. Mark Morris was invited to replace Bejart
56
William Forsythe
improvisational technologies, danced with Joffrey and Stuttgart. Born in NY. Forsythe Company 2005-present. in the middle somewhat elevated
57
Mathew Bourne
in the UK. Redid storybook ballets. Choreographed Mary Poppins and Edward Scissorhands
58
Nacho Duato
Compania Nacional de Danza "Duende". Danced with Bejart and Ailey. Resident choreographer NDT
59
Early Jazz
African American influence. Minstrel shows (made fun of african americans, painted black, singing/dancing/tap and clogging, created stereotypes. Cakewalk made fun of themselves
60
Katherine Dunham
Studied Anthropology, research in the West Indies. Developed a technique combining African and Caribean movement with modern dance. Her negro dance group performed "Cabin in the Sky" (musical by balanchine) opened school in NYC, isolations. Combined concert and commercial dance
61
Pearl Primus
Learned dance in AFrica. PHD in sociology and anthro. Known for speed jumps and power
62
Jack Cole
father of theatrical jazz dance. Danced with Denishawn and Humphrey-weidmann. Left modern for nightclubs. Developed combo of jazz ethnic and ballet still used in media, musicals and nightclubs. Very task oriented, demanding and harsh. Helped build Jacob's pillow. Choreographed for Marilyn Monroe
62
Jacob's pillow
Ted shawn bought a farm in Minnesota adn started a company "Ted Shawn and his male dancers". began in 1933. Referred to the story in the bible. Has a pillow rock. Still used as a dance festival.
63
Matt Mattox
Jack Cole protege, developed coedified jazz. Moved to london and now lives in France
64
Isadora Duncan
Loose clothing, movement from the chest. Manifesto proclaiming dance as natural expression for everyone. Philosophy of dance. Minimalist. Defend dance as a high art
65
Ruth St. Dennis
Interested in exotic cultures. Incorporated Vaudeville into concert dance. Combined theatrical drama and contemporary concert dance. Collaborated with Ted Shawn to create Denishawn.
66
Ted Shawn
promoted male dancer. Explored Ethnic Dance. Choreographed "Dreams of Jacob". Partnered with Ruth St. Dennis to create Denishawn. Later developed Jacob's pillow.
67
20th century dance
Modern- created by and focused on women. Theatrical, social and classical ballet were the only types around until then.
68
Women in 20th century
They had very few rights and were very restricted, even in clothing (corset). Many couldn't go to school, read or write. They developed a rebellious spirit, valuing feelings and intuition. Artist to perceive "universal truths". Fighting against the status quo.
69
Modern Dance
Isn't created for a patron, church, benefactor or court. Means of expressing by the artist. Addresses urban life and current issues. Used the body in ways never seen before.
70
Fuller, Duncan and St. Dennis
All were born in the U.S. and gained fame in Europe. They were serious about dance as an art form, saw themselves as artists. Innovators that were widely imitated. Changed the clothing and costuming of dance. Represent the new "modern woman"
71
Martha Graham
Studied at Denishawn, left to develop her own choreography. Influenced by art and music. Toured Europe, taught and then opened her own school in NY. Employed women and other races.
72
Martha Graham Technique
contraction, relase and spiral. All begin in the pelvis
73
Her Work
Cupped hands, contraction, bound, hair in big bun, minimalist, strong female centered. Lamentation, Appalachian Spring and Errand of the Maze.
74
Martha Graham's dancers
Merce Cunningham, Paul Taylor, Erik Hawkins, Betram Ross and Pearl Lang
75
Louis Horst
Martha Graham's composer, artistic mentor, BFF and sometimes lover. He pushed her to look at other art forms
76
German Expressionism
Movement in the arts
77
Ausdrucktanz
dance portion of germany's art movement. Included light vs. dark, abstraction, distortion and exaggeration
78
Rudolph Laban
Dance teacher and theoritican. He trained Mary Wigman and Kurt Joos. He developed dance choirs. Kicked out of Germany for removing himself from Nazi party. He moved to London and created Laban movement analysis- Labanotation
79
Dance Choirs
Used as propaganda for the Nazi Party. Contained natural movement, regular clothes and performed everywhere. He was kicked out of Germany for removing himself from the Nazi Party.
80
Mary Wigman
worked with Laban. Opened a school in germany. Strong emphasis on space, percussion and silence. She used masks adn explored deep and primitive emotions. Witch Dance
81
Hanya Holm
Studied and performed with Wigman. Went to NYC and opened Wigman school. Divorced and became a single dancing mom. Embraced American ways. Taught Alwin Nikolais and Joann Woodbury.
82
American Dance Festival
Outreach of Bennington College. Started by Graham, Holm, Humphrey and Weidman
83
Doris Humphrey
Studied at Denishawn. Fall and recovery, ebb and flow, abstraction as a metaphor. Formal structure of choreographing. Concerned with choreographic technique and theory. Water Study. When her company disbanded she became artistic director of Jose Limon company.
84
Charles Weidman
Went to Denishawn. Interested in combining dance and pantomime. Created humorous and satirical pieces. Started a company with Humphrey
85
Jose Limon
started dancing with the humphrey-weidman school and company. Strong, masculine, intense and dramatic dancer. Choreographed early works at Mills College. Coached on the structure of choreography by Humphrey. Lots of gesture, mime, character development. His works include the moors pavane and missa brevis. His technique continues Humphrey's work, increasing the release and dramatic gesture
86
Lester Horton
Original member of the Ballet Russes. Interested in Native American Studies. His company was one of the first integrated ones. Combined dance and theatre, on and off in the film industry. Trained Alvin Ailey and Bella Lewitsky. Work: the Beloved
87
John Cage
prolific composer, came up with ideas of what music is and how we hear. Skilled pianist, developed the prepared piano. Worked with Cunningham
88
Merce Cunningham
soloist in the Martha Graham company. Created new approach to dance and aesthetic. Company performed until Dec. 31 last year, almost lived to be 100. Worked with John Cage. Chance methods, music decor and costumes come together, used dance forms, pure movement
89
Alwin Nikolais
trained at Bennington College, toured with Hanya Holm. Has a company, originally called Henry Street Playhouse. Collaborated with Murray Louis, they fused dance with spectacle, environment dictates movement quality, dancers express properties of space not expression. Works: The crucible. Totally abstract
90
Robert Dunn
took ideas from John Cage, students were Trisha Brown and David Gordon.
91
Dance in the 1960's
Post-Modern
92
Yvonne Rainier
post-modern, repetition. No Manifesto: no spectacle, magic, glamour, hero, eccentricity, etc.
93
Sally Baine
Terpsnickery in sneakers Author
94
Steve Paxton
created contact improv, run into each other and find a way to the floor and get back up
95
Meredith Monk
theatrical and vocal
96
David Gordon
Talk and dance
97
Post-modern dance
continuous experimentation, what is dance?, can be done by everyone, no gender roles, pedestrian costumes and movement, task oriented, became about doing experience of performers, non-traditional performance venues, incorporated film, break rules and create new ones
98
Post-modern Choreographic Methods
chance, repetition, stillness, juxtaposition, only one idea, on-going activities, pedestrian, create rules and play games, site specific, cut-ups, quoting other artworks, used popular music and social dance
99
Mark Morris
Began flamenco dancing, in Lar Lubovitch's company. Purpose in visualizing music, his interpretation of the musical score. Usually classical music
100
George Balanchine
danced with the Mariinsky Ballet, met Diaghelev and joined the Ballet Russes. Came to the U.S. and met lincoln Kirstein, began SAB. formed AB caravan, ballet society and then NY city center asked them to become NYCB> Choreography was teaching methods for his students. Serenade, Jewels. Over 465 dances, director until he died. Neoclassical ballet
101
Neoclassical Ballet
deemphasizing plot, no frills or scenery, just dance, woman centered, beauty in line and form, some pieces are just black leo and pink tights, pelvis and hinging
102
Peter Martins
Principal dancer and later ballet master of ABT, co master with Jerome Robins and then director
103
Jerome Robbins
danced with Ballet Theatre, performed Petrouchka, choreographed fancy free which was made into the musical "On the town". Choreographed West Side story
104
American Ballet Theatre
Started by Mikhail Mordkin and Lucia Chase. First called Mordkin Ballet then ballet theatre and then ABT. Directors have been Lucia Chase and Oliver Smith, Mikhail Baryshnikov and now Kevin Mckenzie. ABT is a ballet repository that also produces new work. The major touring ballet company in the U.S.
105
Mikhail Mordkin
danced with Ballet Russes, formed the All Star Russian Ballet and the director of the Bolshoi. Came to the U.S. and started Mordkin ballet with Lucia chase, later became ABT
106
Agnes DeMille
Charter member of Ballet Theatre, Black ritual was her first work. Then she choreographed Rodeo for Ballet Russes and later set it on ABT. She choreographed the musical, Oklahoma
107
Antony Tudor
danced with ballet Rambert in London. Joined Ballet Theatre for the first season. Taught at Juilliard
108
Joffrey Ballet
Started by Robert Joffrey and Gerald Arpino, used to be based in NYC-LA-Chicago, now just Chicago. Toured with a station wagon adn u-haul. They were the hip and cool ballet company. There current director is Ashley C. Wheater
109
San Francisco Ballet
oldest professional ballet company in the U.S. First started as the SF opera ballet. Founded by Willam Christensen
110
Ballet Rambert
Founded by Marie Rambert in 1926 (as the Ballet Club). Name changed to Ballet Rambert and Rambert Dance Co. Choreographers were Richard Alston (overdrive) and Christopher Bruce (Hush
111
Marie Rambert
inspired by Isadora Duncan, danced with Ballet Russes but left with Nijiinski, married, opened her own school. Fredrick Ashton was one of her students
112
Royal Ballet
received a charter to become the Royal Ballet. Started by Ninnette de Valois who danced with Ballet Russes. Sir Fredrick Ashton was the 1st choreographer and later the artistic director.
113
Fredrick Ashton
Trained wiht Marie Rambert, understood musical score. First choreographer for the Royal Ballet and later the artistic director. Choreographed Cinderella
114
Stuttgart Ballet
former dancers are Jiri Kylian and William Forsythe. Resident choreographers: Christian Spuck and Marco Goele. Exaggerates and teases traditional ballet. Very Avant Gard. Glen tetley director, danced with Limon
115
Royal Swedish Ballet
one of the oldest european companies. August Bournonville spent time there. Shortly rivaled Ballet Russes before the war
116
Maurice Bejart
Bejart Ballet Lussanne. first in belgium and moved to Lussanne. Choreographed to Bolero. Mark Morris was invited to replace Bejart
117
William Forsythe
improvisational technologies, danced with Joffrey and Stuttgart. Born in NY. Forsythe Company 2005-present. in the middle somewhat elevated
118
Mathew Bourne
in the UK. Redid storybook ballets. Choreographed Mary Poppins and Edward Scissorhands
119
Nacho Duato
Compania Nacional de Danza "Duende". Danced with Bejart and Ailey. Resident choreographer NDT
120
Early Jazz
African American influence. Minstrel shows (made fun of african americans, painted black, singing/dancing/tap and clogging, created stereotypes. Cakewalk made fun of themselves
121
Katherine Dunham
Studied Anthropology, research in the West Indies. Developed a technique combining African and Caribean movement with modern dance. Her negro dance group performed "Cabin in the Sky" (musical by balanchine) opened school in NYC, isolations. Combined concert and commercial dance
122
Pearl Primus
Learned dance in AFrica. PHD in sociology and anthro. Known for speed jumps and power
123
Jack Cole
father of theatrical jazz dance. Danced with Denishawn and Humphrey-weidmann. Left modern for nightclubs. Developed combo of jazz ethnic and ballet still used in media, musicals and nightclubs. Very task oriented, demanding and harsh. Helped build Jacob's pillow. Choreographed for Marilyn Monroe
