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Transcript of Jerome Robbins
Work + Accomplishments
Image by Tom Mooring
Robbins studied dance at the New Dance League, learning ballet with Ella Daganova, Antony Tudor and Eugene Loring. He learned several other dance styles such as folk, spanish and modern dance.
Jerome joined Ballet Theatre (now known as the American Ballet Theatre) in 1940 as a dancer. He then joined New York City Ballet in 1948 and soon became associate director.
After much success he returned to the New York City Ballet as a choreographer and co-director and retired in 1990.
Born: October 11, 1918 Manhattan, New York.
Raised: Weehawken, New Jersey
Died: July 29, 1998 New York City, from a stroke.
Jerome, during his many years of learning and choreographing, has come across some very influential people, that have impacted on not only him but his choreography as well.
George Balanchine also known as the father of American Ballet, was known for his musicality by expressing dance through music and paved the way for Robbins, to totally change the dynamics of dance in musical theatre, therefore dance itself. Balanchine cast Robbins in the chorus of a pair of Broadway shows, and soon after, he got into Ballet Theatre.
Agnes De Mille + Antony Tudor
Agnes De Mille and Antony Tudor, were some other great influences to Jerome Robbins. Both his teachers at the Ballet Theatre. They taught him how to act through dance and to really dramatize his movements.
During his many years of training Robbins created his own style of dance. Studying several different types of dance under the influence of many iconic teachers, one of which was Antony Tudor who really made Jerome use the basis of storytelling to express his movements. Robbins used storytelling as a starting block to create his unique style.
As well as characterisation Robbins uses contrasting dimensions and physically damanding technical and physical skills to show off the dancers ability to perform challenging movements. In his movement vocabulary you can see a wide range of elevations, turns, and falls.
The male cast is wearing battered, torn and dirty clothes, which signifies that they've been in a fight recently. The clothes themselves are typical 1950's wear, jeans and bomber jackets all in quite dull colours to reflect that of the city.
The girls also wear typical 1950's outfits such as the high waisted pencil skirts, but in more brighter colours.
Lighting, Props + Sets:
These three things all revolve around the cars. The lighting, which is made by the cars themseleves. The cars are used as props to showcase that they are in a garage or maybe a secret hideout, this also helps to create the set. The set being in a garage, needs cars to help set the scene. Being in a dark garage give of secrecy as though the characters are in trouble and are hiding out.
Jerome Robbins - http://www.pbs.org/wnet/americanmasters/episodes/jerome-robbins/about-the-artist/1099/ accessed on 26th of November
Bio. True Story - http://www.biography.com/people/jerome-robbins-9459896 accessed on the 21st of November
Infoplease - http://www.infoplease.com/encyclopedia/people/robbins-jerome.html accessed on the 27th of November
Answers - http://www.answers.com/topic/jerome-robbins accessed on the 21st of November
Wikipedia - http://en.wikipedia.org/wiki/Jerome_Robbins accessed on the 18th of November
UKEssays - http://www.ukessays.com/essays/theatre/robbins-de-mille.php accessed on the 26th of November.
Fancy Free (1946)
High Button Shoes (1947) - Won a Tony Award for Best Choreography
The Pajama Game (1954)
Peter Pan (1954)
West Side Story (1957) - Tony Award for Best Choreography
By the end of his life (1998) Robbins was awarded with 5 Tony Awards, 2 Academy Awards, the Kennedy Center Honors (1981), the National Medal of Arts (1988), the French Legion of Honor, three Honorary Doctorates, and an Honorary Membership in the American Academy and Institute of Arts and Letters.