Lincoln Kirstein Influence On George Balanchine

During the beginning of the twentieth century, the United States had no ballet companies of their own. Instead they had groups touring to the United States performing for those who lived there. Lincoln Kirstein, however, “envisioned an American ballet where young native dancers could be trained and schooled under the guidance of the world's greatest ballet masters to perform a new, modern repertory, rather than relying on touring groups of imported artists performing for American audiences.” Lincoln wanted to open an American ballet school that could be compared to the European schools. His dream was set into motion on July 1933 when he met George Balanchine in London. Kirstein “proposed an entire future career in half an hour, he [Balanchine]

After their performance “John Martin writes in the Sunday Times that it might be a good idea for us to send Balanchine back to Paris, where he belongs.” It made Kirstein angry because Balanchine came to help bring ballet to America, teaching Americans the technique he learned from the Russian Ballet and made the technique into his own style. Not only that, but with World War II just around the corner, all efforts came to a halt since Kirstein had to serve in the army “while Balanchine went to the Ballet Russe de Monte Carlo as choreographer” However, during World War II’s six year timespan, the School of American Ballet continued to operate and teach new

Morton Baum, then chairman of City Center's Finance Committee, was impressed by the quality of what he had seen at one of the performances and approached Kirstein with the suggestion that he transform the ensemble into a New York City Ballet.” The School of American Ballet enrollment was increasing along with the creation of the New York City Ballet. Dancers from all over the world “came first to join Ballet Society, then the New York City Ballet.” The New York City Ballet’s first season opened in October figuring three ballets: Concerto Barocco, Orpheus, and Symphony in C. In January 1949, Jerome Robbins, the choreographer and director of West Side Story, joins the New York City Ballet and George Balanchine had appointed him to Associate Artistic