Liza Gennaro
- Published in print:
- 2021
- Published Online:
- December 2021
- ISBN:
- 9780190631093
- eISBN:
- 9780190631123
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190631093.003.0002
- Subject:
- Music, Dance, Popular
This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the ...
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This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the individuated chorus, and how a few dance directors began to consider dance in musicals in relation to the libretto as an integrated and meaningful addition to the musical play. The common practice of Black choreographers being pushed aside while white choreographers claimed credit for their work and the essential role Black dance teachers and coaches played in training white dancers for Broadway is discussed here. Examinations of choreographic works by dance directors Buddy Bradley, Charlie Davis, Seymour Felix, Sammy Lee, Albertina Rasch, and George Balanchine establish a historical basis in preparation for the radical innovations to be discussed in subsequent chapters.Less
This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the individuated chorus, and how a few dance directors began to consider dance in musicals in relation to the libretto as an integrated and meaningful addition to the musical play. The common practice of Black choreographers being pushed aside while white choreographers claimed credit for their work and the essential role Black dance teachers and coaches played in training white dancers for Broadway is discussed here. Examinations of choreographic works by dance directors Buddy Bradley, Charlie Davis, Seymour Felix, Sammy Lee, Albertina Rasch, and George Balanchine establish a historical basis in preparation for the radical innovations to be discussed in subsequent chapters.
Brent Phillips
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813147215
- eISBN:
- 9780813151502
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813147215.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter begins with the successful appearances of dance team “Fox and Walters” at the Versailles nightclub. Walters meets rising choreographer Robert Alton and performs in the Theatre Guild’s ...
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This chapter begins with the successful appearances of dance team “Fox and Walters” at the Versailles nightclub. Walters meets rising choreographer Robert Alton and performs in the Theatre Guild’s critically-panned Parade. Chapter 3 presents a detailed look at the production and reception of the Cole Porter musical Jubilee, where Walters partnered June Knight, introduced “Just One of Those Things,” and danced “Begin the Beguine.” Walters’ development as a dancer — under the tutelage of Albertina Rasch and Tony and Rene De Marco — is discussed. This chapter also explores his friendship with young Montgomery Clift.Less
This chapter begins with the successful appearances of dance team “Fox and Walters” at the Versailles nightclub. Walters meets rising choreographer Robert Alton and performs in the Theatre Guild’s critically-panned Parade. Chapter 3 presents a detailed look at the production and reception of the Cole Porter musical Jubilee, where Walters partnered June Knight, introduced “Just One of Those Things,” and danced “Begin the Beguine.” Walters’ development as a dancer — under the tutelage of Albertina Rasch and Tony and Rene De Marco — is discussed. This chapter also explores his friendship with young Montgomery Clift.
Erin Graff Zivin
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780823286829
- eISBN:
- 9780823288724
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823286829.003.0003
- Subject:
- Literature, World Literature
Graff Zivin argues against a mode of reading—of a text, of the archive—that would seek to uncover a buried truth (alêtheia), following the logic of archaeology or arche (ἀρχή) logos (λόγος): an ...
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Graff Zivin argues against a mode of reading—of a text, of the archive—that would seek to uncover a buried truth (alêtheia), following the logic of archaeology or arche (ἀρχή) logos (λόγος): an excavational mode of thought, a cousin of a certain conservative philological tendency that has as its foundation or ground (Grund), which hides beneath it, an identifiable and revealable truth. Instead, the author proposes the notion of anarchaeological, or marrano, reading, an interpretative practice that would take into account the secret, incalculable qualities of the archive or the text. After reviewing several examples of archaeological (Dussel, Bosteels) and anarchaeological (Williams, Draper, Steinberg) engagements with the Latin American archive in general, and the archive of 1968 in particular, Graff Zivin analyzes Albertina Carri’s unsettled relation to the inheritance of her murdered militant parents in the 2003 and 2016 films, Los rubios and Cuatreros.Less
Graff Zivin argues against a mode of reading—of a text, of the archive—that would seek to uncover a buried truth (alêtheia), following the logic of archaeology or arche (ἀρχή) logos (λόγος): an excavational mode of thought, a cousin of a certain conservative philological tendency that has as its foundation or ground (Grund), which hides beneath it, an identifiable and revealable truth. Instead, the author proposes the notion of anarchaeological, or marrano, reading, an interpretative practice that would take into account the secret, incalculable qualities of the archive or the text. After reviewing several examples of archaeological (Dussel, Bosteels) and anarchaeological (Williams, Draper, Steinberg) engagements with the Latin American archive in general, and the archive of 1968 in particular, Graff Zivin analyzes Albertina Carri’s unsettled relation to the inheritance of her murdered militant parents in the 2003 and 2016 films, Los rubios and Cuatreros.
Nicola McLelland
- Published in print:
- 2020
- Published Online:
- March 2021
- ISBN:
- 9780198754954
- eISBN:
- 9780191816451
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198754954.003.0008
- Subject:
- Linguistics, Historical Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter presents a history of women in the study of the German language, from sparse early evidence, to their first public forays as translators and poets, as learners and as teachers—successful ...
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This chapter presents a history of women in the study of the German language, from sparse early evidence, to their first public forays as translators and poets, as learners and as teachers—successful and locally influential, perhaps, but still largely unknown. The chapter also shows how women were students and monitors of their own German language use out of necessity, navigating various strictures about how women could and should speak and write. It was within the emerging discipline of Modern Languages that some women established a reputation as language specialists in the nineteenth century, not least Mary Brebner, whose work was very influential in the language teaching Reform Movement. Finally, the chapter considers the lasting achievements of the first women to become professional German linguists, including Theresa Albertina Louise von Jacob- Robinson, Klara Hechtenberg Collitz (c.1865–1944), Agathe Lasch (1879–1942), and Luise Berthold (1891–1983).Less
This chapter presents a history of women in the study of the German language, from sparse early evidence, to their first public forays as translators and poets, as learners and as teachers—successful and locally influential, perhaps, but still largely unknown. The chapter also shows how women were students and monitors of their own German language use out of necessity, navigating various strictures about how women could and should speak and write. It was within the emerging discipline of Modern Languages that some women established a reputation as language specialists in the nineteenth century, not least Mary Brebner, whose work was very influential in the language teaching Reform Movement. Finally, the chapter considers the lasting achievements of the first women to become professional German linguists, including Theresa Albertina Louise von Jacob- Robinson, Klara Hechtenberg Collitz (c.1865–1944), Agathe Lasch (1879–1942), and Luise Berthold (1891–1983).
Kara Anne Gardner
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9780199733682
- eISBN:
- 9780190246082
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199733682.003.0001
- Subject:
- Music, Dance, History, American
This chapter describes de Mille’s path to Broadway. After de Mille graduated from UCLA, she began a career as a choreographer, producing solo pieces with an emphasis on the stories of individual ...
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This chapter describes de Mille’s path to Broadway. After de Mille graduated from UCLA, she began a career as a choreographer, producing solo pieces with an emphasis on the stories of individual characters. Her earliest attempt to stage dances in a Broadway musical (Flying Colors) ended with her being replaced by Albertina Rasch. After that disappointment, she moved to London and created a number of seminal works while studying with Marie Rambert. In 1933, she collaborated with Cole Porter on the musical Nymph Errant. When she returned to the United States, she was primed for success. The premiere of her ballet Rodeo in New York (1942) met with an enthusiastic reception and led Rodgers, Hammerstein, and the Theater Guild to hire her as choreographer for Oklahoma! The chapter also discusses the Broadway ballets of Albertina Rasch and George Balanchine, which served as important precursors for de Mille’s groundbreaking work in musical theater.Less
This chapter describes de Mille’s path to Broadway. After de Mille graduated from UCLA, she began a career as a choreographer, producing solo pieces with an emphasis on the stories of individual characters. Her earliest attempt to stage dances in a Broadway musical (Flying Colors) ended with her being replaced by Albertina Rasch. After that disappointment, she moved to London and created a number of seminal works while studying with Marie Rambert. In 1933, she collaborated with Cole Porter on the musical Nymph Errant. When she returned to the United States, she was primed for success. The premiere of her ballet Rodeo in New York (1942) met with an enthusiastic reception and led Rodgers, Hammerstein, and the Theater Guild to hire her as choreographer for Oklahoma! The chapter also discusses the Broadway ballets of Albertina Rasch and George Balanchine, which served as important precursors for de Mille’s groundbreaking work in musical theater.
