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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
Q

Oklahoma!

A

Choreographed by Agnes de Mille

Most know for the dream ballet

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26
Q

Jerome Robbins

A

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

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27
Q

Fancy Free

A

Choreographed by Jerome Robbins in 1944

About 3 sailors on leave during WWII

28
Q

Dances at a Gathering

A

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
Q

The Cage

A

Choreographed by Jerome Robbins for NYC Ballet in 1951

A horror story about female insects that kill their mates after copulation

30
Q

Afternoon of a Faun

A

Revived by Jerome Robbins
Portrayed the 2 figures as dancers
The P2 was set in a rehearsal studio

31
Q

Joffrey Ballet

A

Founded in 1956 by Robert Joffrey
Several dancers toured one night stands
Seasons eventually developed in NY and LA
Joffrey died in 1988

32
Q

Dance Theatre of Harlem

A

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
Q

Arthur Mitchell

A

Founder of Dance Theatre of Harlem

34
Q

Maria Tallchief

A

Born on Oklahoma reservation
Danced with Ballet Russe de Monte Carlo
Major dancer with NYC Ballet
Balanchine’s 3rd wife

35
Q

Jacques d’Amboise

A

Established the National Dance Institute for dance outreach into schools

36
Q

Suzanne Farrell

A

NYC Ballet’s leading dancer in 1960s

Inspired Balanchine, known as his muse for many ballets

37
Q

The Royal Ballet

A

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
Q

Ninette de Valois

A

A Ballet Russe dancer, but Irish born

Founded The Royal Ballet

39
Q

Fredrick Ashton

A

Became the leading comic choreographer
Also did tender, gracious, lyrical works
Raised in South Africa
Became director of the Royal Ballet in 1963

40
Q

Anthony Tudor

A

Choreographed for the Ballet Club under Marie Rambert

Moved to the US to work for Ballet Theater

41
Q

Margot Fonteyn

A

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
Q

Bolshoi

A

Russian ballet company

Prides itself on flair

43
Q

Kirov

A

Russian ballet company

Unequalled in purity of style

44
Q

Isadora Duncan

A

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
Q

Ruth St. Denis

A

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
Q

Ted Shawn

A

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
Q

Denishawn

A

Founded by Ruth St. Denis and Ted Shawn
Denishawn style combined many techniques:
Stretching, ballet barre, free movement, oriental technique

48
Q

Jacob’s Pillow

A

Annual dance festival in Berkshires

Founded by Ted Shawn

49
Q

Mary Wigman

A

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
Q

Hanya Holm

A

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
Q

Martha Graham

A

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
Q

Doris Humphrey

A

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
Q

Jose Limon

A

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
Q

Charles Weidman

A

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
Q

Helen Tamiris

A

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
Q

Lester Horton

A

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
Q

Bella Lewitzky

A

Developed a movement technique with Horton which was codified in the 1950s

58
Q

Katherine Dunham

A

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
Q

Alvin Ailey

A

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
Q

Alwin Nikolais

A

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
Q

Avant-Garde Movement

A

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
Q

Merce Cunningham

A

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
Q

Paul Taylor

A

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
Q

Pilobolus

A

Dance company, makes shapes and tells stories by molding their bodies together
Started at Dartmouth College
Group of 6 dancers who create collectively

65
Q

Twyla Tharp

A

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

Dance History (1 decks)

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