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Balanchine and the Lost Muse is a dual biography of the early lives of two key figures in Russian ballet, in the crucial time surrounding the Russian revolution: famed choreographer George Balanchine and his close childhood friend, ballerina Liidia Ivanova.
Centering on Ninette de Valois's formative years as a choreographer and a shaper of British ballet, this book closely examines her 1934 ballet Bar aux Folies-Bergère, which was inspired by the famous Edouard Manet painting and created for Marie Rambert's comapny, then known as the Ballet Club.
“The world outside has burst into the studio,” writes the influential dancer, teacher, and choreographer Daniel Nagrin. Many dancers want passionately to confront concrete, difficult subjects. But their formalistic training hasn’t prepared them for what they need to say. This book, the first on choreography approached through content rather than structure, is designed with them in mind. Spiced with wit and strong opinions, Choreography and the Specific Image explores, in nineteen far-ranging essays, the art of choreography through the life’s work of an important artist. A career of performance, creativity, and teaching spanning five decades, Nagrin reveals the philosophy and strategy of his work with Helen Tamiris, a founder of modern American dance, and of Workgroup, his maverick improvisation company of the 1970s. During an era when many dancers were working with movement as abstraction, Nagrin turned instead toward movement as metaphor, in the belief that dance should be about something. In Choreography and the Specific Image, Nagrin shares with the next generation of dancers just how that turn was accomplished. “It makes no sense to make dances unless you bring news,” he writes. “You bring something that a community needs, something from you: a vision, an insight, a question from where you are and what churns you up.” In a workbook following the essays, Nagrin lays out a wealth of clear, effective exercises to guide dancers toward such constructive self-discovery. Unlike all other choreography books, Nagrin addresses the concerns of both modern and commercial (show dance) choreographers. “The need to discover the inner life,” he maintains, “is what fires the motion.” This is Nagrin’s third book of a trilogy, following Dance and the Specific Image: Improvisation and The Six Questions: Acting Technique for Dance Performance. Each focuses on a different aspect of dance—improvisation, performance, and choreography—engaging the specific image as a creative tool. Part history, part philosophy, part nuts-and-bolts manual, Choreography and the Specific Image will be an indispensable resource for all those who care passionately about the world of dance, and the world at large.
Creating Musical Theatre features interviews with the directors and choreographers that make up today's Broadway elite. From Susan Stroman and Kathleen Marshall to newcomers Andy Blankenbuehler and Christopher Gattelli, this book features twelve creative artists, mostly director/choreographers, many of whom have also crossed over into film and television, opera and ballet. To the researcher, this book will deliver specific information on how these artists work; for the performer, it will serve as insight into exactly what these artists are looking for in the audition process and the rehearsal environment; and for the director/choreographer, this book will serve as an inspiration detailing each artist's pursuit of his or her dream and the path to success, offering new insight and a deeper understanding of Broadway today. Creating Musical Theatre includes a foreword by four-time Tony nominee Kelli O'Hara, one of the most elegant and talented leading ladies gracing the Broadway and concert stage today, as well as interviews with award-winning directors and choreographers, including: Rob Ashford (How to Succeed in Business Without Really Trying); Andy Blankenbuehler (In the Heights); Jeff Calhoun (Newsies); Warren Carlyle (Follies); Christopher Gattelli (Newsies); Kathleen Marshall (Anything Goes); Jerry Mitchell (Legally Blonde); Casey Nicholaw (The Book of Mormon); Randy Skinner (White Christmas); Susan Stroman (The Scottsboro Boys); Sergio Trujillo (Jersey Boys); and Anthony Van Laast (Sister Act).
The unique career of choreographer Liz Lerman has taken her from theater stages to shipyards, and from synagogues to science labs. In this wide-ranging collection of essays and articles, she reflects on her life-long exploration of dance as a vehicle for human insight and understanding of the world around us. Lerman has been described by the Washington Post as “the source of an epochal revolution in the scope and purposes of dance art.” Here, she combines broad outlooks on culture and society with practical applications and accessible stories. Her expansive scope encompasses the craft, structure, and inspiration that bring theatrical works to life as well as the applications of art in fields as diverse as faith, aging, particle physics, and human rights law. Offering readers a gentle manifesto describing methods that bring a horizontal focus to bear on a hierarchical world, this is the perfect book for anyone curious about the possible role for art in politics, science, community, motherhood, and the media. The paperback edition includes an afterword with updates and additions to each section of the book. Ebook Edition Note: Two images have been redacted, on page 200, Dances at a Cocktail Party, and on page 201, the bottom photo of Small Dances about Big Ideas.
Internationally renowned dancer, choreographer and teacher Jonathan Burrows explains how to navigate a course through the complex process of creating dance. He provides choreographers with an active manifesto and shares his wealth of experience of choreographic practice to allow each artist and dance-maker to find his or her own aesthetic process.
"Musical theatre dance is an ever-changing, evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists and requiring dramaturgical understanding, character analysis, knowledge of history, art, design and most importantly an extensive knowledge of dance both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis: derivative, cliché ridden, titillating and predictable, the ugly stepsister of both theatre and dance, belies and ignores the historic role it has had in musicals as an expressive form equal to book, music and lyric. The standard adage, "when you can't speak anymore sing, when you can't sing anymore dance" expresses its importance in musical theatre as the ultimate form of heightened emotional, visceral and intellectual expression. Through in-depth analysis author Liza Gennaro examines Broadway choreography through the lens of dance studies, script analysis, movement research and dramaturgical inquiry offering a close examination of a dance form that has heretofore received only the most superficial interrogation. This book reveals the choreographic systems of some of Broadway's most influential dance-makers including George Balanchine, Agnes de Mille, Jerome Robbins, Katherine Dunham, Bob Fosse, Savion Glover, Sergio Trujillo, Steven Hoggett and Camille Brown. Making Broadway Dance is essential reading for theatre and dance scholars, students, practitioners and Broadway fans"--
Fully revised and updated, this second edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into the creative process, and innovative challenges to traditional understandings of dance making. Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organized into seven broad domains: Conceptual and philosophical concerns Processes of making Dance dramaturgy: structures, relationships, contexts Choreographic environments Cultural and intercultural contexts Challenging aesthetics Choreographic relationships with technology. Including 23 new chapters and 10 updated ones, Contemporary Choreography captures the essence and progress of choreography in the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.
Choreography is the highly creative process of interpreting and coordinating movement, music and space in performance. By tracing different facets of development and exploring the essential artistic and practical skills of the choreographer, this book offers unique insights for apprentice dance makers. With key concepts and ideas expressed through an accessible writing style, the creative tasks and frameworks offered will develop new curiosity, understanding, skill and confidence. The chapters cover the key areas of engagement including what is a choreographer; getting started; improvisation and ideas; context, stage geometry and atmosphere; movement as dance in time and space; solo, duet, trio and group choreography and finally, structure and the 'choreographic eye'. This is an ideal companion for dancers and dance students wanting to express their ideas through choreography and develop their skills to effectively articulate them in performance. It is superbly illustrated with 143 practical colour and black & white photographs and diagrams. Kate Flatt has over forty years' experience as a choreographer, mentor and teacher.
Tony and Olivier Award–winning Bob Avian’s dazzling life story, Dancing Man: A Broadway Choreographer’s Journey, is a memoir in three acts. Act I reveals the origins of one of Broadway’s legendary choreographers who appeared onstage with stars like Barbra Streisand and Mary Martin all before he was thirty. Act II includes teaching Katharine Hepburn how to sing and dance in Coco and working with Stephen Sondheim and Michael Bennett while helping to choreograph the original productions of Company and Follies. During this time, Avian won a Tony Award as the cochoreographer of A Chorus Line and produced the spectacular Tony Award–winning Dreamgirls. For a triumphant third act, Avian choreographed Julie Andrews’s return to the New York stage, devised all of the musical staging for Miss Saigon and Sunset Boulevard, and directed A Chorus Line on Broadway. He worked with the biggest names on Broadway, including Andrew Lloyd Webber, Carol Burnett, Jennifer Holliday, Patti LuPone, Elaine Stritch, and Glenn Close. Candid, witty, sometimes shocking, and always entertaining, here at last is the ultimate up-close and personal insider’s view from a front row seat at the creation of the biggest, brightest, and best Broadway musicals of the past fifty years.