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"Balanchine, George."
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George Balanchine : the ballet maker
Chronicles the life and achievements of George Balanchine, ballet's foremost choreographer and one of the creative masters of the twentieth century.
Book
More Balanchine variations
\"Provides insightful analysis and description of twenty Balanchine ballets\"--Provided by publisher.
Book
Balanchine and Kirstein's American enterprise
\"In 1933 choreographer George Balanchine and impresario Lincoln Kirstein embarked on an elusive quest to found a ballet company and school in the United States. Though their efforts would eventually result in the creation of the New York City Ballet and the School of American Ballet, the first decade of their collaborative efforts was anything but assured. Tracing the tangled histories of two of the most important figures in twentieth-century dance, Balanchine and Kirstein's American Enterprise offers a fresh perspective on a pivotal period in cultural history. Deeply researched using sources only made available in recent years, the book challenges the mythologies surrounding the early years of the Balanchine-Kirstein enterprise. It also reveals the full extent of Kirstein's essential role and offers reconstructive analysis of lost works, as well as new and surprising details regarding some of Balanchine's most iconic ballets, including Serenade, Apollo, and Concerto Barocco. This history involved artists including Richard Rodgers, Martha Graham, George Gershwin, Katherine Dunham, Vera Zorina, and Igor Stravinsky, as well as dozens of lesser known players whose contributions have yet to be fully acknowledged. Capturing the full sweep of Balanchine and Kirstein's collaborative work across multiple genres and institutions, this book reveals their partnership in all of its exciting and ungainly complexity, showing how the 1930s Balanchine was not the artist that he would eventually become, and how the same was true of the institutions that he and Kirstein jointly created\"-- Provided by publisher.
Book
Finding Balanchine's Lost Ballets
Ever since George Balanchine arrived on the American dance scene
in 1933, his revolutionary, fleet-footed repertoire has been
immortalized in the ballet canon. Yet most of the works he created
in Russia as a budding choreographer have been lost to
history-until now. In the first book to focus exclusively on
Balanchine's Russian ballets, Elizabeth Kattner offers new insights
into the artistic evolution of a legend through her reconstruction
of his first group ballet, Funeral March.
Drawing on more than a decade of research conducted in archives
in the United States and Europe, Kattner synthesizes textual
descriptions, photographs, musical scores, and the comparative
study of other early Balanchine ballets in order to re-create this
forgotten work. By interpreting and building upon these historical
findings in the studio and in performance, this project enables
dance history to be experienced kinesthetically. Addressing the
controversy surrounding whether unrecorded dances should be
reconstructed in the first place, Kattner meticulously describes
her research methodologies, providing a valuable resource for other
scholars seeking to revive history in this way.
Finding Balanchine's Lost Ballets enriches our
understanding of Balanchine's development as a choreographer
through its ambitious, original approach to the subject. Kattner
argues for the importance of dance reconstruction, when correctly
approached, as a tool for reimagining the past and charting the
future possibilities of dance history research.
eBook
Mr. B : George Balanchine's 20th century
\"The New York Times called him \"the Shakespeare of dancing.\" He appeared on the cover of Time magazine. Arguably the greatest choreographer who ever lived, George Balanchine was one of the cultural titans of the twentieth century. His radical approach to choreography reinvented the art of dance and his richly imaginative ballets made him a legend. Yet, Balanchine's life was as dramatic as his art, coinciding with some of the biggest historical events of his time. Born in Russia under the last Czar, Balanchine experienced the upheavals of World War I, the Russian Revolution, World War II, exile, and the Cold War. He co-founded the New York City Ballet and revolutionized dance in America, pressing it to the forefront of modernism and making it serious and popular art. A man of many muses, Balanchine was married five times and consumed by other loves in between. Both the passions that animated him and the difficulties of his life--personal losses, bouts of ill health, and dark moods of despair--resonate in his more than 100 ballets, which speak of love, loss, mortality, and the transformative power of art. Nearly forty years after his death the full scale of Balanchine's achievement remains unexplored. Jennifer Homans, who studied with Balanchine and has had unprecedented access to his papers and many of those who knew him, has researched every facet of Balanchine's life and times. As much a biography as a vast history of the twentieth century through the lens of one of its greatest artists, Mr. B is the definitive biography by ballet's definitive writer\"-- Provided by publisher.
Book
Balanchine’s “Bach Ballet” and the Dances of Rodgers and Hart’s On Your Toes
This article uncovers an unrealized “Bach Ballet” by choreographer George Balanchine previously unexamined by scholars of music or dance. Inspired by tap dancer Paul Draper and conceived of by Balanchine’s patron Lincoln Kirstein, this work is probably an early inspiration for the choreographer’s now iconic ballet Concerto Barocco (1941, set to J. S. Bach’s D-minor concerto for two violins, BWV 1043). This “Bach Ballet” provides an occasion to reevaluate the aesthetic and institutional stakes of Balanchine’s better-known endeavor from the same period: his well-regarded dances for Richard Rodgers and Lorenz Hart’s musical comedy On Your Toes, in which the worlds of classical music and ballet collide with popular music and dance. New insights into the dramaturgical function and reception of the dances in On Your Toes offer a way to revisit the show’s status as an early exemplar of “integrated” musical comedy and to understand the musical’s engagement with the phenomenon of Russian ballet in New Deal America. This essay analyzes the musical’s three dances—the Princess Zenobia ballet, the “On Your Toes” number, and the concluding Slaughter on Tenth Avenue—as an allegory of Balanchine’s Americanization as a choreographer. This complex of projects provides a fresh perspective on how Balanchine’s personal contact with a range of dancers (white and African-American, tap and ballet performers) affected his development as a choreographer and in the process helped realize, if inadvertently, the erstwhile goal of Balanchine and Kirstein’s ballet enterprise: to reinvent the art form in a native idiom.
Journal Article