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Modernizing Dance

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by

Lily Sloan

on 10 April 2012

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Transcript of Modernizing Dance

Modernizing
Dance

Lineage...
Thank you for your attention!
Loïe Fuller, Isadora Duncan, Ruth St. Denis, Martha Graham, Paul Taylor, Twyla Tharp
One example of the Modern Dance Family Tree...
is where we find dance.
Loie Fuller
Performed in vaudeville/burlesque shows since childhood
Self-made artist
Used props/lighting/stagecraft
Main idea: Emphasis on the INDIVIDUAL.

Artists had the right to follow personal inspiration, rather than catering to private or instituional patrons.
Her mother was her first feminist influence:
She divorced her husband for philandering and financial irresponsibility at a time when it was not the social norm for women to claim independence from their husbands
Her fervent belief in the power of self-improvement through self-education
Was she a fan of ballet?......NO!
She felt it was a false, unnatural, and preposterous art
She believed its purpose is to create the delusion that gravity does not exist
o Isadora, what was the real source of dance?
Nature, Inside herself, Art of classical Greece
Loie Fuller
Romanticism
Isadora Duncan
Influences
Circus sideshows, ballet lessons, ballroom lessons
Dancing in vaudeville shows that lead to her touring Europe
Spiritual Awakening
Seeing a poster for Egyptian Deities in an ice cream parlor
Who did she team up with to create a school for dance?
Ted Shawn
Jacob's Pillow is a dance festival that was created after the Denishawn members split.
Ruth St. Denis
First major performance: graduated from the Denishawn School who was chosen to star opposite of Ted Shawn in his ballet Xochitl.

She didn't begin dance training untill her 20s. Why?
Her father did not approve of the theater as a career and was waiting for his death before she pursued these interest
Louis Horst was a major influence early on in Martha Graham’s career, encouraging her to leave the school and go out on her own as a dancer and choreographer
Choreographic Themes:
Native American rituals & mythologized American history
Her own responses to: newspapers, personal struggles, her explorations of the “potential greatness” of the human body
Martha Graham
Mikhail Folkine:
Russian ballet dancer who sent an artistic manifesto to the director of the Imperial Theaters outlining ideas for a way to make ballet fresh
His first choreographic endeavors were meet with opposition and he was forced to compromise on the topic of COSTUMES. No bare feet allowed!
Movement influences from Isadora Duncan: Turning their profiles to the side, instead of facing the audience straight on
Mikhail Fokine choreographed The Swan for Anna Pavlova, becoming her signature role.
Modernizing Ballet
Vaslav Nijinsky: Russian born dancer who was known not only for his impeccable technique, but also his incredible emotional range, as exhibit by his roles in such ballets as Schéhérazade, Le Carnaval, Petrouchka, and Jeux

L’Aprés-Midi d’un Faune was the first ballet choreographed by Vaslav Nijinsky that was identified by its’ musical complicity, controversial subject matter, and anticlassical movements

Igor Stravinsky was the composer for Nijinsky’s Rite of Spring whose score was described by critics of his work as “pounding, discordant music.
Modernizing Ballet
Jeux, choreographed by Vaslav Nijinsky, was one of the first ballets to portray characters who seemed to live in the same world as the audience, even wearing sports cloths that were only slightly modified from the popular fashion
George Balanchine:
His great artistic influences were from his training at the Imperial Ballet School and Serge Diaghilev.

The Prodigal Son was the ballet George Balanchine choreographed after Diaghilev suggested that he create a ballet on a Biblical parable found in Luke 15.

Created the School of American Ballet, with the following great contributors: Lincoln Kirstein, Edward M.M. Warburg.
Modernizing Ballet:
Full transcript