Preface |
|
xi | |
|
New Dance: America's Pioneers (1900--1940) |
|
|
1 | (32) |
|
Vaudeville and spectacle extravaganza |
|
|
|
exercise and dress reform |
|
|
|
Fuller, Duncan, Denishawn |
|
|
|
Experimentalism in Ballet: Diaghilev, Fokine, and the Russian Legacy (1900--1930s) |
|
|
33 | (44) |
|
|
|
|
|
|
|
|
|
Massine, Nijinska, Balanchine |
|
|
|
other Russians in the West |
|
|
|
worldwide influence of later Ballets Russes |
|
|
|
Modernism Revealed: Ausdruckstanz, the Dance of Expression (1910--1945) |
|
|
77 | (29) |
|
|
|
|
|
Schlemmer and the Bauhaus |
|
|
|
|
|
|
|
|
|
Ausdruckstanz and National Socialism |
|
|
|
Ballet Comes to America (1900--1940s) |
|
|
106 | (35) |
|
|
|
|
|
|
|
Regionalism, Americana themes |
|
|
|
|
|
America After Denishawn: The Heroic Age of Modern Dance (1920--1940s) |
|
|
141 | (37) |
|
|
|
|
|
Graham, Humphrey, Weidman, Holm |
|
|
|
|
|
Bennington summer dance program |
|
|
|
Ballet in Western Europe: The Rise of National Traditions (1900--1960s) |
|
|
178 | (60) |
|
Expatriate Russians in the West |
|
|
|
Rambert, early Tudor, de Valois, Ashton and English Classicism, Fonteyn, early Cranko, early MacMillan, Festival Ballet |
|
|
|
hegemony of the Paris Opera, Lifar, de Cuevas, Kochno, Petit, Charrat |
|
|
|
Denmark's Bournonville legacy, Lander |
|
|
|
A World Apart: Dance in Russia and the Soviet Union (1900--1960s) |
|
|
238 | (27) |
|
|
|
|
|
|
|
socialist realism, the drambalet |
|
|
|
|
|
Ballet in America Comes of Age (1935--1965) |
|
|
265 | (54) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Modern Dance: The Second Generation (1935--1980s) |
|
|
319 | (35) |
|
|
|
|
|
|
|
|
|
|
|
|
|
Schism and Transition: Reinterpreting Modern Dance (1940s--2000) |
|
|
354 | (39) |
|
|
|
|
|
|
|
|
|
|
|
Beyond the Boundaries: Postmodernism (1960--1980) |
|
|
393 | (31) |
|
|
|
Robert Dunn and the Judson Church |
|
|
|
|
|
|
|
Paxton and contact improvisation |
|
|
|
|
|
|
|
|
|
|
|
Internationalism: The Merging of the Disciplines (1950--2000) |
|
|
424 | (69) |
|
|
|
modern dance comes to Europe |
|
|
|
|
|
Bejart --van Manen, van Dantzig, Kylian |
|
|
|
|
|
Rambert as a modern company, Alston |
|
|
|
|
|
American ``internationalists'' |
|
|
|
Arpino, Feld, Lubovitch, Gohprime Tharp |
|
|
|
|
|
Ballet Rising (1960--1990s) |
|
|
493 | (39) |
|
|
|
|
|
Nureyev, Makarova, Baryshnikov |
|
|
|
the revival of full-evening classics |
|
|
|
|
|
the dominance of Balanchine |
|
|
|
Ballet's High Tide (1960s--2000) |
|
|
532 | (73) |
|
New York City Ballet and American Ballet Theatre |
|
|
|
The Joffrey, Dance Theatre of Harlem, Harkness, Les Ballets Trockadero |
|
|
|
Regional Ballet in America |
|
|
|
|
|
|
|
|
|
|
|
the Soviet Union and the New Russia |
|
|
|
Denmark, Switzerland, Spain |
|
|
|
Late Modernism: Pluralism and the Ascendancy of Style (1960s--2000) |
|
|
605 | (69) |
|
The global vision, ``new postmodernism'' |
|
|
|
Wilson, Pilobolus, Bill T. Jones/Arnie Zane, Garth Fagan, new physical dance, Mark Morris |
|
|
|
|
|
|
|
|
|
|
|
|
|
London Contemporary Dance Theatre, Alston, British New Dance |
|
|
|
|
|
Musical Theater in America (1900--2000) |
|
|
674 | (34) |
|
Minstrelsy, tap, chorus lines, operetta, ballroom |
|
|
|
Ziegfeld, Cohan, Miller, black musicals, Princess Theatre musicals |
|
|
|
|
|
|
|
|
|
|
|
Dance in the Movies (1900--2000) |
|
|
708 | (37) |
|
|
|
|
|
|
|
|
|
|
|
the Golden Age of the Hollywood musical, 1942--1957 |
|
|
|
|
|
decline of the studio system --the backstage world of ballet |
|
|
Notes |
|
745 | (106) |
Index |
|
851 | (54) |
Photo Credits |
|
905 | |