Agnes de Mille

Telling Stories in Broadway Dance

Nonfiction, Entertainment, Music, Classical & Opera, Ballet, Music Styles, Musicals
Cover of the book Agnes de Mille by Kara Anne Gardner, Oxford University Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Kara Anne Gardner ISBN: 9780199997855
Publisher: Oxford University Press Publication: July 13, 2016
Imprint: Oxford University Press Language: English
Author: Kara Anne Gardner
ISBN: 9780199997855
Publisher: Oxford University Press
Publication: July 13, 2016
Imprint: Oxford University Press
Language: English

This book explores the Broadway legacy of choreographer Agnes de Mille, from the 1940s through the 1960s. Six musicals are discussed in depth - Oklahoma!, One Touch of Venus, Bloomer Girl, Carousel, Brigadoon, and Allegro. Oklahoma!, Carousel, and Brigadoon were de Mille's most influential and lucrative Broadway works. The other three shows exemplify aspects of her legacy that have not been fully examined, including the impact of her ideas on some of the composers with whom she worked; her ability to incorporate a previously conceived work into the context of a Broadway show; and her trailblazing foray into the role of choreographer/director. Each chapter emphasizes de Mille's unique contributions to the original productions. Several themes emerge in looking closely at de Mille's Broadway repertoire. Character development remained at the heart of her theatrical work work. She often took minor characters, represented with minimal or no dialogue, and fleshed out their stories. These stories added a layer of meaning that resulted in more complex productions. Sometimes, de Mille's stories were different from the stories her collaborators wanted to tell, which caused many conflicts. Because her unique ideas often got woven into the fabric of her musicals, de Mille saw her choreography as an authorship. She felt she should be given the same rights as the librettist and the composer. De Mille's work as an activist is an aspect of her legacy that has largely been overlooked. She contributed to revisions in dance copyright law and was a founding member of the Stage Directors and Choreographers Society, a theatrical union that protects the rights of directors and choreographers. Her contention that choreographers are authors who have their own stories to tell offers a new way of understanding the Broadway musical.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

This book explores the Broadway legacy of choreographer Agnes de Mille, from the 1940s through the 1960s. Six musicals are discussed in depth - Oklahoma!, One Touch of Venus, Bloomer Girl, Carousel, Brigadoon, and Allegro. Oklahoma!, Carousel, and Brigadoon were de Mille's most influential and lucrative Broadway works. The other three shows exemplify aspects of her legacy that have not been fully examined, including the impact of her ideas on some of the composers with whom she worked; her ability to incorporate a previously conceived work into the context of a Broadway show; and her trailblazing foray into the role of choreographer/director. Each chapter emphasizes de Mille's unique contributions to the original productions. Several themes emerge in looking closely at de Mille's Broadway repertoire. Character development remained at the heart of her theatrical work work. She often took minor characters, represented with minimal or no dialogue, and fleshed out their stories. These stories added a layer of meaning that resulted in more complex productions. Sometimes, de Mille's stories were different from the stories her collaborators wanted to tell, which caused many conflicts. Because her unique ideas often got woven into the fabric of her musicals, de Mille saw her choreography as an authorship. She felt she should be given the same rights as the librettist and the composer. De Mille's work as an activist is an aspect of her legacy that has largely been overlooked. She contributed to revisions in dance copyright law and was a founding member of the Stage Directors and Choreographers Society, a theatrical union that protects the rights of directors and choreographers. Her contention that choreographers are authors who have their own stories to tell offers a new way of understanding the Broadway musical.

More books from Oxford University Press

Cover of the book Best Practices for Technology-Enhanced Teaching and Learning by Kara Anne Gardner
Cover of the book Perfect Martyr by Kara Anne Gardner
Cover of the book A Connecticut Yankee in King Arthur's Court by Kara Anne Gardner
Cover of the book Peace Formation and Political Order in Conflict Affected Societies by Kara Anne Gardner
Cover of the book The Daoist Monastic Manual by Kara Anne Gardner
Cover of the book The Biopolitics of Embryos and Alphabets by Kara Anne Gardner
Cover of the book Radiological Risk Assessment and Environmental Analysis by Kara Anne Gardner
Cover of the book Economic Development by Kara Anne Gardner
Cover of the book North American Indians: A Very Short Introduction by Kara Anne Gardner
Cover of the book Modernist Islam, 1840-1940 by Kara Anne Gardner
Cover of the book A Guide to Biblical Sites in Greece and Turkey by Kara Anne Gardner
Cover of the book Composing the World by Kara Anne Gardner
Cover of the book Favela by Kara Anne Gardner
Cover of the book Regions Apart by Kara Anne Gardner
Cover of the book Myth : A Biography Of Belief by Kara Anne Gardner
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy