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Libri sul tema "Jerome Robbins"

Autore: Grafiati
Pubblicato: 31 agosto 2024

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1

Vaill, Amanda, e Judy Kinberg. Jerome Robbins: Something to dance about. West Long Branch, N.J: Kultur, 2009.

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2

Jowitt, Deborah. Jerome Robbins: His life, his theater, his dance. New York: Simon & Schuster, 2004.

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3

Bocher, Barbara. The cage: Dancing for Jerome Robbins and George Balanchine, 1949-1954. [North Charleston, S.C: CreateSpace], 2012.

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4

Laurents, Arthur. West side story: A musical : based on a conception of Jerome Robbins. London: Heinemann Educational, 1985.

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5

Schlundt, Christena L. Dance in the musical theatre: Jerome Robbins and his peers, 1934-1965 : a guide. New York: Garland Pub., 1989.

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6

Finn, Felicity. Jeremy and the aunties. Toronto: Second Story Press, 1992.

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7

Lesser, Wendy. Jerome Robbins. Yale University Press, 2018. http://dx.doi.org/10.12987/9780300240429.

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8

Jerome Robbins. Rosen Publishing Group, 2009.

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9

Jerome Robbins. Rosen Publishing Group, 2009.

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10

Vaill, Amanda. Jerome Robbins. Little, Brown Book Group Limited, 2006.

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11

Jerome Robbins. Rosen Publishing Group, 2009.

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12

Jerome Robbins. Rosen Publishing Group, 2009.

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13

Jerome Robbins' Broadway. Hal Leonard Corp, 1989.

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14

Jerome Robbins: That Broadway Man. Booth-Clibborn, 2000.

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15

Vaill, Amanda. Somewhere: The Life of Jerome Robbins. Broadway, 2008.

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16

Jerome Robbins: A life in dance. 2018.

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17

Somewhere: The Life of Jerome Robbins. Orion Publishing Group, Limited, 2005.

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18

Vaill, Amanda. Somewhere: The Life of Jerome Robbins. Broadway, 2006.

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19

Lesser, Wendy. Jerome Robbins: A Life in Dance. Yale University Press, 2018.

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20

Seibert, Brian. Jerome Robbins (Library of American Choreographers). Rosen Publishing Group, 2005.

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21

Somewhere: The Life of Jerome Robbins. Orion Publishing Group, Limited, 2007.

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22

Somewhere: The life of Jerome Robbins. New York: Broadway Books, 2006.

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23

Jerome Robbins (The Library of American Choreographers). Rosen Central, 2005.

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24

Dance with Demons: The Life of Jerome Robbins. Putnam Adult, 2001.

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25

Jerome Robbins: His Life, His Theater, His Dance. Simon & Schuster, 2005.

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26

Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance. Simon & Schuster, 2004.

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27

Lawrence, Greg. Dance With Demons: The Life of Jerome Robbins. Diane Pub Co, 2003.

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28

Dance with Demons: The Life of Jerome Robbins. Penguin Publishing Group, 2001.

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29

Jerome Robbins: His life, his theater, his dance. New York: Simon & Schuster, 2004.

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30

Dance with Demons: The Life of Jerome Robbins. Berkley Trade, 2002.

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31

West Side Story Based On A Conception Of Jerome Robbins. Hal Leonard Publishing Corporation, 2011.

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32

Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present. Bloomsbury Publishing Plc, 2006.

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33

Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present. Continuum International Publishing Group, 2001.

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34

Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present. Bloomsbury Publishing Plc, 2006.

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35

Broadway, the Golden Years: Jerome Robbins and the Great Choreographer Directors, 1940 to the Present. Continuum International Publishing Group, 2003.

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36

Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and a Memoir in Progress. Knopf Doubleday Publishing Group, 2019.

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37

Broadway: The Golden Years: Jerome Robbins And The Great Choreographer-Directors 1940'S To The Present. S.l: Continuum, 2003.

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38

Winkler, Kevin. Apprenticeship. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0003.

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Abstract (sommario):
This chapter describes Bob Fosse’s first four Broadway shows, which he worked on with George Abbott or Jerome Robbins, both of whom proved important mentors to the young choreographer. This high-level apprenticeship served as a foundation for every Fosse show that followed. With The Pajama Game, his distinctive style was already fully developed as exemplified in “Steam Heat.” Damn Yankees introduced Fosse to Gwen Verdon, a former Jack Cole dancer whose performance of Fosse’s choreography for “Whatever Lola Wants” proved indelible and led to a professional and personal association that would last the rest of their lives. On New Girl in Town, a musicalization of Eugene O’Neill’s Anna Christie, Fosse fought with Abbott and producer Harold Prince over his “Red Light Ballet,” which they deemed censorable. The clash led Fosse to sever his ties with both men and determine that he would follow Robbins’s example and direct his next show.
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39

Winkler, Kevin. Big Deal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.001.0001.

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Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a choreographer, including the various dance influences he absorbed as a young performer. It examines key Fosse dances and contextualizes them across his career. It looks at how he influenced changes in the musical theater, particularly as a director, and how early mentors George Abbott and Jerome Robbins shaped his theatrical outlook. It compares his work to that of peers like Robbins, Gower Champion, Michael Bennett, and others. The book also examines his choreography for film and looks at how his film experiences influenced his stage work. It also considers the impact of his three marriages—all to dancers—on his career. Finally, the book investigates how Fosse’s evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
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40

Winkler, Kevin. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0001.

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This introduction looks at the development of the role of director-choreographer, that individual who uses movement to align all elements of a musical into an integrated and cohesive whole. Ned Wayburn’s codified dance routines and Julian Mitchell’s scenic effects and production numbers gave way to Seymour Felix’s and Sammy Lee’s early attempts at integrating dance with narrative. From there, George Balanchine’s introduction of ballet into the structure of musicals and the corresponding requirement for classically trained dancers led to Agnes de Mille’s danced psychological scenarios, which embedded choreography into the composition of musicals. These antecedents paved the way for Jerome Robbins, who with West Side Story defined the role of director-choreographer for a new generation, of which Bob Fosse would be one of the most assertive and authoritative.
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41

Challender, James Winston. The function of the choreographer in the development of the conceptual musical: An examination of the work of Jerome Robbins, Bob Fosse, and Michael Bennett on Broadway between 1944 and 1981. 1986.

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42

Winkler, Kevin. Everything is Choreography. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190090739.001.0001.

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Everything Is Choreography: The Musical Theater of Tommy Tune is the first full-scale analysis of the work of Tommy Tune, and his place in a lineage of Broadway’s great director-choreographers. The decade of the 1980s was considered a low point for the American musical. Tune’s predecessors in the art of complete musical staging like Jerome Robbins, Bob Fosse, Gower Champion, and Michael Bennett were either dead or withdrawn from the Broadway arena. Yet it was the period of Tune’s greatest success. The book examines how he adapted to an increasingly corporatized, high-stakes producing and funding environment. It considers how Tune kept the American musical a thriving, creative enterprise at a time when Broadway was dominated by British imports. It investigates Tune’s work since the mid-1990s, when he shifted his attentions to touring and regional productions, far from the glare of Broadway. Unlike his fellow director-choreographers, Tune also maintained a successful performing career, and the book details the deft balancing act that kept him working as a popular singer-dancer-actor while he was directing a series of striking and influential Broadway musicals.
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43

Young, Harvey, a cura di. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350045187.

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This volume chronicles the lives and artistry of Elia Kazan, Jerome Robbins, and Lloyd Richards. Their commitment to staging new works, which often focused on the experiences of immigrant and working-class families, significantly expanded the scope and possibilities of American theatre across the 20th century. It illuminates too their collaborations with a range of innovative theatre artists, including Lee Strasberg, Clifford Odets, Marlon Brando, Arthur Miller, Tennessee Williams, Lorraine Hansberry, Leonard Bernstein, Stephen Sondheim, and August Wilson. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work oftwenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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44

Gennaro, Liza. Making Broadway Dance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.001.0001.

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Musical theater dance is an ever-changing and evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists requiring dramaturgical understanding; character analysis; knowledge of history, art, design; and, most importantly, an extensive knowledge of dance, both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis—derivative, cliché ridden, titillating and predictable, the ugly stepsister of both theater and dance—belies and ignores the historic role it has had in musicals as an expressive form equal to book, music, and lyric. The standard adage, “when you can’t speak anymore sing, when you can’t sing anymore dance,” expresses its importance in musical theater as the ultimate form of heightened emotional, visceral, and intellectual expression. Through in-depth analysis author Liza Gennaro examines Broadway choreography through the lens of dance studies, script analysis, movement research, and dramaturgical inquiry offering a close examination of a dance form that has heretofore received only the most superficial interrogation. This book reveals the choreographic systems of some of Broadway’s most influential dance-makers, including George Balanchine, Agnes de Mille, Jerome Robbins, Katherine Dunham, Bob Fosse, Donald McKayle, Savion Glover, Sergio Trujillo, Steven Hoggett, and Camille Brown. Making Broadway Dance is essential reading for theater and dance scholars, students, practitioners, and Broadway fans.
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45

West, Martha Ullman. Todd Bolender, Janet Reed, and the Making of American Ballet. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813066776.001.0001.

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Abstract (sommario):
Martha Ullman West illustrates how American ballet developed over the course of the twentieth century from an aesthetic originating in the courts of Europe into a stylistically diverse expression of a democratic culture. West places at center stage two artists who were instrumental to this story: Todd Bolender and Janet Reed. Lifelong friends, Bolender (1914–2006) and Reed (1916–2000) were part of a generation of dancers who navigated the Great Depression, World War II, and the vibrant cultural scene of postwar New York City. They danced in the works of choreographers Lew and Willam Christensen, Eugene Loring, Agnes de Mille, Catherine Littlefield, Ruthanna Boris, and others who West argues were just as responsible for the direction of American ballet as the legendary George Balanchine and Jerome Robbins. The stories of Bolender, Reed, and their contemporaries also demonstrate that the flowering of American ballet was not simply a New York phenomenon. West includes little-known details about how Bolender and Reed laid the foundations for Seattle’s Pacific Northwest Ballet in the 1970s and how Bolender transformed the Kansas City Ballet into a highly respected professional company soon after. Passionate in their desire to dance and create dances, Bolender and Reed committed their lives to passing along their hard-won knowledge, training, and work. This book celebrates two unsung trailblazers who were pivotal to the establishment of ballet in America from one coast to the other.
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46

Martincich, Dustyn, Phoebe Rumsey, Benae Beamon, Bud Coleman, Tome’ Cousin, Joanna Dee Das, Ramón Flowers et al. Dance in Musical Theatre. A cura di Dustyn Martincich e Phoebe Rumsey. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350235564.

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Abstract (sommario):
From Oklahoma! and West Side Story, to Spring Awakening and Hamilton, dance remains one of the most important and key factors in musical theatre. Through the integration of song and dance in the ‘dream ballets’ of choreographers like Agnes de Mille; the triple threat performances of Jerome Robbins’ dancers; the signature style creation by choreographers like Bob Fosse with dancers like Gwen Verdon; and the contemporary, identity-driven work of choreographers like Camille A. Brown, the history of the body in movement is one that begs study and appreciation. Dance in Musical Theatre offers guidelines in how to read this movement by analyzing it in terms of composition and movement vocabulary whilst simultaneously situating it both historically and critically. This collection provides the tools, terms, history, and movement theory for reading, interpreting, and centralizing a discussion of dance in musical theatre, importantly, with added emphasis on women and artists of color. Bringing together musical theatre and dance scholars, choreographers and practitioners, this edited collection highlights musical theatre case studies that employ dance in a dramaturgically essential manner, tracking the emergence of the dancer as a key figure in the genre, and connecting the contributions to past and present choreographers. This collection foregrounds the work of the ensemble, incorporating firsthand and autoethnographic accounts that intersect with historical and cultural contexts. Through a selection of essays, this volume conceptualizes the function of dance in musical: how it functions diegetically as a part of the story or non-diegetically as an amplification of emotion, as well as how the dancing body works to reveal character psychology by expressing an unspoken aspect of the libretto, embodying emotions or ideas through metaphor or abstraction. Dance in Musical Theatre makes dance language accessible for instructors, students, and musical theatre enthusiasts, providing the tools to critically engage with the work of important choreographers and dancers from the beginning of the 20th century to today.
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