Situating ballet within twentieth-century modernism, this book brings complexity to the history of George Balanchine's American neoclassicism. It intervenes in the prevailing historical narrative and rebalances Balanchine's role in dance history by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet.
Situating ballet within twentieth-century modernism, this book brings complexity to the history of George Balanchine's American neoclassicism. It intervenes in the prevailing historical narrative and rebalances Balanchine's role in dance history by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet.
Andrea Harris is Assistant Professor of Dance at the University of Wisconsin-Madison and a Certified Movement Analyst.
Inhaltsangabe
Introduction 1. Modernism and American Ballet Interchapter 1. Americana Ballet I: Billy the Kid 2. Lincoln Kirstein's Social Modernism and the Cultural Front Interchapter 2. Americana Ballet II: Rodeo 3. Edwin Denby's Objectivist Modernism and the New York School Interchapter 3. Americana Ballet III: Western Symphony 4. The Making of an American Ballet Institution in Europe in the Cultural Cold War Conclusion: "We drink the health of the guy that died." Bibliography Index
Introduction 1. Modernism and American Ballet Interchapter 1. Americana Ballet I: Billy the Kid 2. Lincoln Kirstein's Social Modernism and the Cultural Front Interchapter 2. Americana Ballet II: Rodeo 3. Edwin Denby's Objectivist Modernism and the New York School Interchapter 3. Americana Ballet III: Western Symphony 4. The Making of an American Ballet Institution in Europe in the Cultural Cold War Conclusion: "We drink the health of the guy that died." Bibliography Index
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