By Mike Sell (eds.)
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Extra resources for Avant-Garde Performance and Material Exchange: Vectors of the Radical
49. , 124. 50. See Andrea Harris, “Choreographing America: Redefining ‘American’ Ballet in the Age of Consensus,” in Interrogating America Through Theatre and Performance, ed. William W. Demastes and Iris Smith Fischer (New York: Palgrave Macmillan, 2007), 139–155. 51. Amberg, Ballet in America, 127. 52. Jowitt, Time and the Dancing Image, 254. 53. Quoted in Reynolds, Ballet: Bias and Belief, 376. 54. , 124. 55. Mike Sell, Avant-Garde Performance and the Limits of Criticism: Approaching the Living Theatre, Happenings/Fluxus, and the Black Arts Movement (Ann Arbor: University of Michigan Press, 2008), 18.
366 (our emphasis). 40. George Amberg, Ballet in America: The Emergence of an American Art (New York: Duell, Sloan and Pearce, 1949), 127. 41. Lincoln Kirstein, in Ballet: Bias and Belief. Three Pamphlets Collected and Other Dance Writings of Lincoln Kirstein, comp. Nancy Reynolds (New York: Dance Horizons, 1983), 376. 42. Alastair Macaulay, “Mother Ship Off Balance, Balanchine Still Soars,” New York Times (Nov. 14, 2008): AR1. 43. Balanchine, quoted in Sally Banes, Dancing Women: Female Bodies on Stage (London: Routledge, 1998), 194.
The metamorphosis wrought by M. Diaghilev, his choreographist, and scenic designers is wider than that from cat to lady,” wrote one critic. “They have transposed the young man, his companions, and their background into a mathematical pattern. ”39 These effects were produced in part by amplifying the athletic physicality of the classical vocabulary – the Cat’s pyrotechnic leaps and tours en l’air – as well as by bodies counterbalanced in architectural structures – six dancers forming a large pyramid, for example.
Avant-Garde Performance and Material Exchange: Vectors of the Radical by Mike Sell (eds.)