A topic from dance history that I have always been interested in is the era of entertainment when dance and song were highly integrated into film and entertainment. I have always loved artists like Gene Kelly, Ginger Rogers, and Fred Astaire, but never really knew much about the artists besides the work in their movies. I decided to research some of the major influences of dance cinema during the 30’s and 40’s like Busby Berkeley and Fred Astaire. The information I discovered is surprising in some ways and largely significant to the progression of film and dance entertainment. Analyzing and researching these artists will give audiences an insight and context to what they have been watching, which is vital in order to become an educated audience …show more content…
Since the quality of the film was not as advanced as it is today, it was precarious to capture the fluidity of movement on camera. Berkeley confronted this problem directly and transformed the way dance on film was created. Instead of using a four-camera set up that required editing after the fact, Busby edited while he was recording with only one camera (Reynolds and McCormick, 715). This new technique for filming directly alongside his dancers altered the look of dance in cinema forever. Choreography is vital to the creation of an extraordinary piece, however when you are filming dance for a specific audience, such as viewers in a theater setting, it is also important to have a creative and visionary director, such as Berkeley, who can bring a piece to life on screen. Berkeley utilized props such as staircases, revolving platforms and large numbers of dancers to create a unique style of choreography audiences were astounded by (Dodds 5). Berkeley was not a dancer himself, which gave him a different view on how dance could be expressed on screen. Frank W.D. Ries from American National Biography Online explains Berkeley’s fascination with lines and patterns came from his background in military drill formations. Berkeley attended military school and upon graduation he served as the assistant entertainment officer that designed parade drills …show more content…
However, after his flaws of aggressive perfectionism, alcoholism, and his objectification of women were exposed to audiences there were and still are a small group of people who do not admire his work because of his shortcomings. Personally I believe that every artist has a right to his or her own shortcomings since that is the nature of human beings. However, there are some actions that are unforgivable and should not be condoned such as the murder three innocent people. If I were alive at that time I would have not supported Berkeley for the reason that I would not have gotten over the fact that this man has abused himself and other people in so many different ways. In my research it was difficult to find resources that expressed dislike for Berkeley but I suspect in the next couple of decades people who worked with Berkeley will come out and tell truths about Berkeley that we have never suspected before. Some people associated with Berkeley who have stories to share might refrain from sharing their stories because of threats, contracts, money and other factors. There is absolutely no denying he made amazing breakthroughs in the filming of dance. However it is not acceptable to condone the mistreatment of him and
Popular dances like “crank that Soulja Boy” and “teach me how to dougie” wouldn’t exist today if it weren’t for the dance styles of the 1920’s. The 1920’s breathed new life into dancing due to prohibition and the rise of jazz in popularity. Before the 1920’s, dancing was seen as a formal event with but because of movies, dancing became more casual and gone were the restrictions of the early 1900’s. The dances in the 1920’s brought new styles and new rhythms to a variety of dance floors.
Another feature in his works was simplicity. For example, in 1977, in one of his productions called ‘Curious Schools of Theatrical Dancing: Part 1.’ This is reflected in costume, props and choice of music. He did not use any props but the production was effective in the choice of costume being a simple black and white unitard with big stripes going diagonally over his body. In this p...
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
In the dance world a staggering number of choreographers have made a lasting impact on the way dance is seen to its audience. Alonzo King’s exceptional oeuvre of work includes him in this great history of significant choreographers. He not only created the link between modern and ballet in the twentieth century, but he bridged the ...
In the introduction, Mordden explains that “all its [musical theatre’s] artistry dwells in the historian’s key buzz term ‘integrated’: the union of story and score” (Mordden x). It is important for audience members to understand that musical numbers aren’t put into shows just for pure entertainment. Rather, the numbers are there to not only further the plot, but to also tell more about the characters than can be said in words. As many shows say: sometimes you just have to sing about it. Mordden also points out that “the historian recognizes other aspects of integration—of dance as a thematic and psychological instrument…” (Mordden x). Just as musical numbers reveal more about the character, so can dance. If the character is shy and reserved, their movements and dances will reflect it with smaller movements and less flashy numbers. If the character is big, over the top, and dramatic, the choreography will be huge, take up a lot of space and most likely require a lot of energy. If these numbers are
Martha Graham was born on May 11, 1894 in Alleghany County, Pennsylvania and tragically passed on April 1, 1994 in her home of cardiac arrest after being treated for pneumonia for two months. Graham was one of three daughters to a physician, her father Dr. George Graham, who was particularly interested in the bodily expression of human behavior. Her father’s profession is what influenced psychological emphasis of reflection and shedding light on an event (Freud) and dream timing, or important events that get more time than actual events (Jung), in her dances. In 1909, Graham’s family settled in Santa Barbara, California, where she became acquainted with oriental art, influences that were to be evident in her choreography throughout her career. In 1911, at age 17, Graham attended a Los Angeles concert for Ruth St. Denis, whose exotic dancing inspired Graham to imagine a career of dance for...
Famous choreographer George Balanchine once said, “He is the most interesting, the most inventive, the most elegant dancer of our times” and noted dancer Rudolph Nureyev also said, “He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.” These famous dancers were referring to Fred Astaire, who has been known as one of the greatest dancers of all time. His light, artistic joyful style of dancing has impacted dance in an extremely unique way. Astaire used techniques in films as well as in dance that have shaped society. Astaire was mostly prominent throughout the 1930s during the Great Depression. Everywhere, Americans were looking for some joy in their lives, and Astaire was able to give them hope in a period of history that lacked optimism. Fred Astaire’s carefree dance movement style and techniques, specifically in the films Swing Time and The Gay Divorcee, help America through the Great Depression and signifies the importance of art in this time period.
The 1970’s was a time period of growth and livelihood. The 70s introduced great choreographers Bob Fosse and Michael Bennett, dance movies, as well as the introduction of breakdancing. Music in the 1970s was brought about by ABBA, the Rolling Stones, and David Bowie. Jazz dance in the 1970s was heavily influenced by the rise in pop and funk music, as well as in the entertainment industry with jazz being introduced in stage and film.
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
...would see things the way they appear and would know what they are. He also doesn't believe in an external mind. Berkeley believes that God perceives us knowledge, which I do not think is believable.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
... believe Claude Debussy has played an affecting role in what classical music is today and should remain greatly respected around the globe for the things he has accomplished. Claude Debussy will forever remain one of my favorite classical composers because I can relate to the criticism one has to endure if you want to do things differently with a classical piece of music, I would know this because I play piano by ear and add my flair to a song. I respect that Debussy stuck with what he believed in and did things in not necessarily a strange, but different way. After all who is to say what is or is not art?