Letteratura scientifica selezionata sul tema "Jerome Robbins"

The Bottle Dance in Fiddler on the Roof was inspired by what the director/choreographer Jerome Robbins called “field research” at Orthodox Jewish weddings. Reshaped and expanded by Robbins's masterful showbiz sensibility, it became a show-stopping number—and, thus transformed, filtered back out of the musical into Jewish celebrations to confer “tradition.”

Abstract: Jerome Robbins (1918–1998), known as the first important American-born ballet choreographer, set over sixty ballets and numerous pieces for Broadway during his lifetime. His success can be attributed not only to his assimilation of different choreographic styles, but also to his attentiveness to the music. He was equally adept at setting a wide variety of musical styles, ranging from Frédéric Chopin (viz., The Concert 1956), Leonard Bernstein (viz., West Side Story 1957), and J. S. Bach (viz., The Goldberg Variations 1971) to Alban Berg (viz., In Memory Of … 1985). If he excelled at realistic character portrayals in some settings, in others he created abstract visual realizations of the music. Although Robbins choreographed many musical styles throughout his career, he developed a special affinity for the music of Bach at the end of his life. It is notable that his final three new choreographies were all based on the music of Bach: A Suite of Dances (1994); Two& Three-Part Inventions (1994); and Brandenburg (1997). Moreover, Bach's music was the last that he heard before he died; the soft strains of a recording of Bach's French Suites reportedly filled the air as Robbins lay dying at his house on 81st Street in New York in 1998. Based on recordings, letters, essays, and other choreographic sketches, some unpublished, this essay examines Robbins's littlediscussed late Bach settings in relation to concepts of Late Style. While Robbins's settings of three final pieces by Bach might not be summative—that is, they might not be as epic, lengthy, and encyclopedic as his The Goldberg Variations from 1971—they can be seen as synthesizing a lifetime of choreographic styles, including ballet, modern dance, theater, and folk. Since they were all abstract realizations of Bach's music through movement, as opposed to narrative settings, Bach's music seems directly to have inspired Robbins's contrapuntal choreography. In turning to Bach for his final creative projects, Robbins was thus participating in certain ways of thinking about art that Edward Said has claimed can be associated with artistic Late Style, including counterpoint and fragmentation. In addition, aspects of the rhythmic energy and stylistic pluralism so central to Bach's music became muses for Robbins's multi-stylistic choreographies late in life, even as he displayed both nostalgia for the past and a newfound interest in youth and youthfulness. In drawing connections among the last works of Robbins, the music of Bach, and theories of Late Style, this essay provides one of the first explorations of concepts of Late Style in relation to choreography, an art form in which the aging body and the artistic work are closely linked. In addition, it contributes new knowledge not only about the late choreographies of Robbins, but also about movement responses to Bach's music, and ways in which Bach reception has intersected with characteristics of Late Style.

In this short piece, I highlight the question of how to bring somatics skills acquired in a somatics class to bear upon other life contexts. I use the example of scholarly work: I show how I use somatic methods as I conduct research in the archives of the choreographer Jerome Robbins (1918–98), housed at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center. I suggest that we need to pay more attention to the question of how students and practitioners could bring physical awareness into their various life scenarios and tasks. I propose that if we learn how to transfer our somatic knowledge into different life contexts, our lives can become more embodied and we can tap into the knowledge that emanates from the physical self.

While ethnic rivalry between the Jets and the Sharks in the film West Side Story has long figured as a point of scholarly concern, we argue the musical's main conflict is not between the two gangs, but rather that of youth versus adult authority. Engaging in a close analysis of the dances choreographed by Jerome Robbins, we contend that the gangs' enmity against each other is subsumed by their collective struggle to reject the socially prescribed roles of adults and children in Cold War America, which fetishized childhood innocence. Robbins's complex representations of youthful play participated in defining a “youth counterculture.”

Abstract This article examines the reception of two American artists during the Salzburg Festival of 1959 in the context of Cold War cultural diplomacy. While Austria had just become an independent republic again in 1955, the Salzburg Festival was experiencing a second American occupation, this time at Austrian invitation. The reasons for and the ways in which Austrian audiences and critics interpreted these performances and the idea of American music—through genre, personality, and politics—reveal the identity of the Festival, and by extension Austria, in a state of flux.

Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentation que Childs met en œuvre seule, avec sa compagnie, ou des compagnies de répertoire, l’écriture et la lecture jouent un rôle déterminant pour concevoir et incorporer ses danses. Grâce à une enquête anthropologique au cœur des studios de danse, Lou Forster montre que le geste technique consistant à danser page à la main se construit à l’intersection de deux histoires parallèles. Au cours des années 1950, John Cage et Merce Cunningham inventent un ensemble de pratiques de lecture et d’écriture afin de s’opposer, détourner et reconfigurer des approches académiques dans lesquelles l’écrit constitue un support pour assoir des partages disciplinaires et des hiérarchies. Cette approche néo-avant-gardiste joue un rôle primordial au Judson ; et parmi les membres de ce groupe, Childs est l’une des chorégraphes qui se montrent la plus attentive à ces pratiques lettrées car elles rejoignent un aspect méconnu de sa formation de danseuse. En effet, elle étudie la danse moderne de 1955 à 1962 au sein de l’important réseau de la diaspora allemande de New York. Elle suit en particulier la formation dispensée dans l’école de la chorégraphe Hanya Holm (1893-1992) où est enseignée une forme américanisée de danse d’expression (Ausdruckstanz). Childs y découvre la cinétographie Laban ou Labanotation, le système d’analyse et d’écriture du mouvement développé par le chorégraphe austro-hongrois Rudolf Laban (1879-1958), dans lequel les danseurs et danseuses répètent page à la main. C’est vers cet événement de lecture atypique pour le monde de la danse que Childs se tourne quinze ans plus tard pour travailler avec sa compagnie. L’histoire de l’art et l’histoire de la danse ont dissocié ces deux versants des modernités chorégraphiques lorsqu’à partir de 1933 une partie de la danse d’expression se compromet avec le régime nazi. Aux États-Unis se construit alors le mythe d’une originalité de la danse moderne américaine, qui s’accentue encore dans le cadre de la guerre froide. La position privilégiée que Childs occupe dans cette histoire connectée la conduit à faire des pratiques graphiques une matrice du postmodernisme. À partir de 1973, elle aborde l’ensemble des techniques canoniques de la danse occidentale, passant au fil des années de la danse d’expression aux activités piétonnières, au ballet néoclassique puis baroque. Se positionnant comme une appropriationiste, elle développe une perspective historique et critique sur ces techniques d’emprunt. Dans ses pièces, elle tend ainsi à rassembler des genres et des histoires de la danse qui ont été séparées et disjointes, élaborant une véritable poétique de la relation
Lucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation