Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
39 Cards in this Set
- Front
- Back
|
Ballet Russe
|
Ballet's response to modern dance: 1909-1929
S.Diaghilev founder started 20th century ballet |
|
|
S Diaghilev
|
- musician
- company director of ballet russe - wealthy, mixed w/aristocracy - 1909 took ballet to western europe - Fokine, Najinsky, Najinska, Balanchine |
|
|
"Afternoon of a Faun"
|
1912, Najinsky
- again adapts ballet form - brings sexuality to modern dance (even before graham) - turned in 2D greek style |
|
|
"Patrouchka"
|
1911,Fokine
- uses movement to depict character - goes beyond ballet vocabulary - focus is human expression -adapts ballet gorm to say more about human experience - Stravinsky music - about awkward puppet in love with ballerina - ends in questioning |
|
|
"Noces"
|
1923, Nijinska
- wedding - turned in, crude, lack of color, mechanical mass movement - modernist piece - stark, clarity of form of modern architecture - adapts ballet techniques to her effects - music by Stravinsky |
|
|
"Stravinsky Violin Concerto"
|
mid 1940s, Balanchine
- neoclassical - women stand out - no story, about form |
|
|
George Balanchine
|
- NY city ballet
- brought russian ballet to US - modernism: beyond technique, but no story, sense of american spirit through form |
|
|
"Noces by Stravinsky"
|
1885
Kylian - incredibly modern - no clarity of form, but flow, dynamic movements that portray human energy |
|
|
Jose Limon
|
- student of Humphrey
(but graham-like cuz looks to inner landscape and gloom - discovered dance late - own company in 1944 - melodramatic, exaggerated emotions - brings ballet into modern dance |
|
|
"Moors Pavane"
|
1949, Limon
- Othello - condenses play to its essence and focuses on raw human emotions (jealousy, hate, envy, innocence, foolishness) |
|
|
Alvin Ailey
|
- company: 1958
- afro americans no diff than whites with dancing - beauty of afro american culture - all about entertaining the audience - form: balletic, jazzy, modern - danced with Lestor Horton |
|
|
Lestor Horton
|
first modern dancer to invite minorities (theatrical, willing to do anything)
|
|
|
"Cry"
|
1971, Ailey
- birthday present for mom - triumph over hardship - blacks, women, black women, mothers, for him: afro american women - solo balletic - victory emphasized |
|
|
"Revelations"
|
1960, Ailey
- suite of 9 dances to afro american spiritual music - celebration of afro american religion - opens with solidarity, then baptismal, then hot day |
|
|
"Night Creature"
|
1976, Ailey
- ideal truth and beauty - sensual physicality of afro americans - jazzy with some balletic - strong women, flirty, playful |
|
|
"Lark Ascending"
|
1973, Ailey
- ballet piece - less sensual than night creature, but still about truth and beauty - classical music, not jazz |
|
|
Alwin Nikolais
|
- Einsteinian, not Freudian
- holistic (brings everything together as unified hole, multimedia) - studied with Hana Holm (who studied with Wigman, loie fuller tradition of theatrical illusion) - "we spend too much time in heat", human no more important than environment - dehumanization |
|
|
"Totem"
|
1960, Nikolais
- shadow illusion - no individuality - egalitarian - innovative lighting |
|
|
"Gallery"
|
1978, Nikolais
- flourescent paint - technology - robotic, no emotion |
|
|
"Tent"
|
1968, Nikolais
- dancers part of larger organism - white sheet |
|
|
"Imago"
|
1963, Nikolais
- environment tied to dancer (like kites) - integration of environment and dancer |
|
|
Momix
|
- Nikolais offshoot
- theatrical illusion, strobe light dance |
|
|
Pilobolus
|
- poop fungus
- form oriented, gymnastic - dehumanized in multi-celled creature |
|
|
"Monkhood's Farewell"
|
1976, Pilobolus
- we take things too seriously - silly superorganisms |
|
|
Merce Cunningham
|
- joined graham's company in 1944
- 1944, own company John Cage partner, musician - influenced by far east: bringing things to a whole, elimination of ego, finding inner and outer peace - discontinuity - open field use of space - elimination of human content - emphasis on form - gave everyone control of music, sets so comes together by chance - Heisenberg principle: at world's basic level, no rules and random - BUT, athletic and performance still |
|
|
"Points in Space"
|
1993, Cunningham
- no music, just sounds - no feeling - no focus - no relationship |
|
|
Yvonne Rainer
|
- postmodern manifesto
- list of no's (no performing, no to trained dancers, no to story telling, pedestrianism) |
|
|
Trio A
|
- could be done by anyone, pedestrian
- discontinuity - every movement new from the next |
|
|
Trisha Brown
|
- dancers are given a task
- postmodern, improvisation |
|
|
"Line Up"
|
1976, Trisha Brown
- task orientation - improvisation |
|
|
Steve Paxton
|
contact improvisation
- product and symbol of what's going on in 1960s - ultimate rejection of power, authority and control |
|
|
"Magnesium"
|
1972, Paxton
- contact improv - throw each other around |
|
|
Paul Taylor
|
- taught by graham
- modern ballet style - social satire but also pure dancing - entertaining dancing - eclectic |
|
|
"Speaking in Tongues"
|
1993, Taylor
- Shaker theme - expressive human emotion, evocative - haunting music, dreamlike - solo and duets |
|
|
Rennie Harris
|
- Afro American hip hop dancer
- Pure Movement company |
|
|
"Endangered Species"
|
1998, Harris
- first dancers with no ballet training - social commentary on gang wars |
|
|
Mary Wigman
|
- German
- human experience - self expression - used masks - sent hana holm to start wigman school in Us, where Nikolais studied with her - use of gravity challenges feminine stereotype - challenge us by digging deep |
|
|
"Witch Dance"
|
1926, Wigman
- primitive, like Butoh - connected to powers of earth - awkward, abrupt, primal |
|
|
Rudolph Van Laban
|
- saw dance as social movement
- effort shape analysis: analyze movement - labanotation: movement notation, write down music |
