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Shall we dance? The choreography of ...

Norland, Betsey.

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Shall we dance? The choreography of cultural change: 1900--1945 (Ruth St. Denis, Ted Shawn).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Shall we dance? The choreography of cultural change: 1900--1945 (Ruth St. Denis, Ted Shawn)./
作者:	Norland, Betsey.
面頁冊數:	297 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4158.
Contained By:	Dissertation Abstracts International66-11A.
標題:	History, United States. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3195730
ISBN:	9780542412165

Shall we dance? The choreography of cultural change: 1900--1945 (Ruth St. Denis, Ted Shawn).
Norland, Betsey.

Shall we dance? The choreography of cultural change: 1900--1945 (Ruth St. Denis, Ted Shawn). - 297 p.

Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4158.

Thesis (Ph.D.)--Rutgers The State University of New Jersey - New Brunswick, 2005.

This work narrates the amalgamation of fine art and popular culture into middlebrow entertainment, examining the legacies of celebrity American dancers who performed together as couples in the early decades of the twentieth century. It investigates the place of high art in a democratic society, arguing that incorporation of vernacular movement made Art dance accessible to a burgeoning white, middle-class audience. This study chronicles changes in theatrical representation of romance and sexuality in vaudeville, Broadway and Hollywood at a time when gender relations were being renegotiated; and it raises questions about the embodiment of masculinity and femininity when perceptions of beauty and the bodily ideal were changing. Moreover, it articulates the contrast between public persona and private experience.

ISBN: 9780542412165Subjects--Topical Terms:

1017393
History, United States.

Shall we dance? The choreography of cultural change: 1900--1945 (Ruth St. Denis, Ted Shawn).
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500 $a Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4158.
500 $a Director: Susan Schrepfer.
502 $a Thesis (Ph.D.)--Rutgers The State University of New Jersey - New Brunswick, 2005.
520 $a This work narrates the amalgamation of fine art and popular culture into middlebrow entertainment, examining the legacies of celebrity American dancers who performed together as couples in the early decades of the twentieth century. It investigates the place of high art in a democratic society, arguing that incorporation of vernacular movement made Art dance accessible to a burgeoning white, middle-class audience. This study chronicles changes in theatrical representation of romance and sexuality in vaudeville, Broadway and Hollywood at a time when gender relations were being renegotiated; and it raises questions about the embodiment of masculinity and femininity when perceptions of beauty and the bodily ideal were changing. Moreover, it articulates the contrast between public persona and private experience.
520 $a The personal and professional partnership of the central characters---Ruth St. Denis and Ted Shawn---provides rich opportunity for analysis, not only of the choreographic creations that encouraged critical and popular respect for dance as a fine art form, but of changes in the larger culture as well. Wed in 1914 when notions of companionate marriage were relatively new to public discourse, St. Denis and Shawn presented an appealing model of romantic attachment. Respectably married, they enjoyed the applause of middle-class moralists for their off-stage performance, an enthusiasm that supported the presentation of Denishawn dance and ultimately altered a negative public perception of professional dancers. Denishawn's adaptation of theatrical settings and costumes from exotic cultures as well as their embodiment of famously amoral characters from classic myth allowed white, middle-class spectators to "safely" engage unfamiliar themes. In their attempt to establish an authentically "American" ballet, the couple modified Native American, African American and ethnic American movement to expand their own choreographic language. Examination of other dancing couples, such as Irene and Vernon Castle and Fred Astaire and Ginger Rogers, places Denishawn performance in cultural context.
520 $a Analysis of audience response to theatrical dance demonstrates that art---whether popular, elite or middlebrow---creates even as it reflects the culture from which it springs. In these ways, dance serves to illustrate changing gender relations as well as shifting interaction between classes and races in the first few decades of the twentieth-century.
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