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Making Broadway Dance by Liza Gennaro, and: Embodied Nostalgia: Early Twentieth Century Social Dance and The Choreographing of Broadway Musical Theatre by Phoebe Rumsey (review)
Theatre Journal ( IF 0.8 ) Pub Date : 2025-01-28 , DOI: 10.1353/tj.2024.a950312
Ray Miller

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Making Broadway Dance by Liza Gennaro, and: Embodied Nostalgia: Early Twentieth Century Social Dance and The Choreographing of Broadway Musical Theatre by Phoebe Rumsey
  • Ray Miller
MAKING BROADWAY DANCE. By Liza Gennaro. New York: Oxford University Press, 2022; pp. 239. EMBODIED NOSTALGIA: EARLY TWENTIETH CENTURY SOCIAL DANCE AND THE CHOREOGRAPHING OF BROADWAY MUSICAL THEATRE. By Phoebe Rumsey. Routledge Advances in Theatre & Performance Studies Series. London: Roudedge, 2024; pp. 241.

While there has been an increasing number of excellent articles on aspects of musical theatre dance in recent years, there are few overall histories on dance in the US American musical, let alone histories that interrogate the dances themselves in substantive ways. The first was Richard Kislan's Hoofing on Broadway: A History of Show Dancing (1987), then Robert Emmet Long's Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present (2001), and now, Liza Gennaro's Making Broadway Dance has arrived some twenty years later. Throughout this same period, there have been excellent overview musical theatre histories written by historians from Gerald Bordman and Ethan Mordden to Sheldon Patinkin and Larry Stempel. Many other scholars have offered in-depth critiques and theorizations of musical theatre, such as Scott Miller, Scott McMillin, Jack Viertel, Raymond Knapp, John Bush Jones, and Bruce Kirle. In other words, there is hardly a paucity of musical theatre history scholarship generally.

Since the 1980s, there have been numerous articles on dance in specific musicals and on the work of selected choreographers in publications like Studies in Musical Theatre, Theatre Journal, and Dance Research Journal. There have also been important book-length examinations on the work of selected choreographers like Glenn Loney's Unsung Genius: The Passion of Dancer-Choreographer Jack Cole (1984), Deborah Jowitt's Jerome Robbins: His Life, His Theater, His Dance (2004), John Anthony Gilvey's Before the Parade Passes By: Gower Champion and the Glorious American Musical (2005), Kara Anne Gardner's Agnes De Mille: Telling Stories in Broadway Dance (2016), and Kevin Winkler's Big Deal: Bob Fosse and Dance in the American Musical (2018). While not as frequent, there are also examples of dancer-choreographers writing their own autobiographies, including Agnes de Mille's landmark Dance to the Piper (1951), Tommy Tune's Footnotes: A Memoir (1997), Donald McKayle's Transcending Boundaries: My Dancing Life (2002), and Bob Avian and Tom Santopietro's Dancing Man: A Broadway Choreographer's Journey (2020). However, there have been few book-length examinations that offer a broader perspective on the contributions of dance to the US American musical. Liza Gennaro is one of the few "to illuminate the role of the choreographer and choreography in Broadway musicals" (8).

Beginning with the work of choreographers and dance directors of the 1920s like Ned Wayburn, Sammy Lee, and Seymour Felix, Gennaro proceeds to tell a 100-year story of dance in musical theatre that takes us up to the work of Andy Blankenbuehler, Steven Hoggett, and Camille A. Brown, just before the Broadway productions closed in 2020 due to the COVID-19 pandemic. Gennaro does not attempt an exhaustive history on the subject; rather, she carefully selects the work of choreographers who profoundly influenced the development of musical theatre dance, such as Agnes de Mille and Jerome Robbins. She juxtaposes the unique contributions of these more seminal artists with those who either challenged or extended their work, such as Bob Fosse, Donald McKayle, Graciela Daniele, and Bill T. Jones.

Gennaro selects particular dance works from musicals to detail how a specific choreographer came to create that piece. While the obligatory dissection of the dream ballet in Oklahoma! is included, it is her examination and contextualization of the "The Civil War Ballet" from Bloomer Girl that not [End Page 579] only provides a look into the construction of this unique dance by de Mille but also foreshadows an approach that would continue to influence choreographers up to today.

Although her analysis of Bloomer Girl is indicative of the real strengths of the volume, Making Broadway Dance is not without its shortcomings. Her chapters on the work of Jerome Robbins are exhaustive, yet there is only one chapter, for example, devoted...



中文翻译:


丽莎·根纳罗 (Liza Gennaro) 的《制作百老汇舞蹈》(Making Broadway Dance),以及菲比·拉姆齐 (Phoebe Rumsey) 的《体现怀旧:二十世纪初的社交舞蹈》和《百老汇音乐剧的编舞》(评论)



以下是内容的简短摘录,而不是摘要:

 校订者:


  • 丽莎·根纳罗 (Liza Gennaro) 的《制作百老汇舞蹈》(Making Broadway Dance),以及菲比·拉姆齐 (Phoebe Rumsey) 的《具身怀旧:二十世纪初的社交舞》和《百老汇音乐剧的编舞
  •  雷·米勒

制作百老汇舞蹈。丽莎·根纳罗 (Liza Gennaro) 著。纽约:牛津大学出版社,2022 年;第 239 页。体现怀旧:二十世纪初的社交舞和百老汇音乐剧的编舞。菲比·拉姆齐 (Phoebe Rumsey) 著。Routledge戏剧与表演研究进展系列。伦敦:鲁德奇,2024 年;第 241 页。


虽然近年来关于音乐剧舞蹈方面的优秀文章越来越多,但美式美国音乐剧中关于舞蹈的整体历史很少,更不用说以实质性方式质疑舞蹈本身的历史了。首先是理查德·基斯兰 (Richard Kislan) 的《百老汇的蹄子:表演舞蹈的历史》(1987 年),然后是罗伯特·埃米特·朗 (Robert Emmet Long) 的《百老汇黄金岁月:杰罗姆·罗宾斯和伟大的编舞导演,1940 年至今》(2001 年),现在,丽莎·根纳罗 (Liza Gennaro) 的《制作百老汇舞蹈》在大约 20 年后问世。在同一时期,从杰拉尔德·博德曼 (Gerald Bordman) 和伊桑·莫登 (Ethan Mordden) 到谢尔顿·帕廷金 (Sheldon Patinkin) 和拉里·斯坦佩尔 (Larry Stempel) 的历史学家都撰写了出色的音乐剧历史概述。许多其他学者对音乐剧进行了深入的批评和理论化,例如斯科特·米勒、斯科特·麦克米林、杰克·维尔特尔、雷蒙德·克纳普、约翰·布什·琼斯和布鲁斯·基尔。换句话说,一般来说,音乐剧历史学术研究几乎不缺乏。


自 1980 年代以来,在《音乐剧研究》、《戏剧杂志》和《舞蹈研究杂志》等出版物中发表了许多关于特定音乐剧中舞蹈的文章,以及关于选定编舞家的作品的文章。此外,还有关于精选编舞家作品的重要书籍研究,如格伦·洛尼的《无名天才:舞蹈家杰克·科尔的激情》(1984 年)、黛博拉·乔维特的《杰罗姆·罗宾斯:他的生活、他的剧院、他的舞蹈》(2004 年)、约翰·安东尼·吉尔维的《游行经过之前:高尔冠军和光荣的美国音乐剧》(2005 年)、卡拉·安妮·加德纳的《艾格尼丝·德·米勒》: 在百老汇舞蹈中讲故事 (2016) 和凯文·温克勒的大交易:鲍勃·福斯和美国音乐剧中的舞蹈 (2018)。虽然不那么频繁,但也有舞者兼编舞家撰写自己的自传的例子,包括 Agnes de Mille 具有里程碑意义的《Dance to the Piper》(1951 年)、Tommy Tune 的《脚注:回忆录》(1997 年)、Donald McKayle 的《超越界限:我的舞蹈生活》(2002 年)以及 Bob Avian 和 Tom Santopietro 的《舞者:百老汇编舞家的旅程》(2020 年)。然而,很少有全书长的检查可以更广泛地了解舞蹈对美国音乐剧的贡献。Liza Gennaro 是为数不多的“阐明百老汇音乐剧中编舞和编舞的作用”的人之一 (8)。


从 1920 年代的编舞家和舞蹈导演,如 Ned Wayburn、Sammy Lee 和 Seymour Felix 的作品开始,Gennaro 继续讲述音乐剧中舞蹈的 100 年故事,将我们带到 Andy Blankenbuehler、Steven Hoggett 和 Camille A. Brown 的作品,就在百老汇作品因 COVID-19 大流行于 2020 年关闭之前。Gennaro 并没有试图对这个主题进行详尽的历史;相反,她精心挑选了对音乐剧舞蹈发展产生深远影响的编舞家的作品,例如 Agnes de Mille 和 Jerome Robbins。她将这些更具开创性的艺术家的独特贡献与那些挑战或扩展他们作品的人并列,例如 Bob Fosse、Donald McKayle、Graciela Daniele 和 Bill T. Jones。


Gennaro 从音乐剧中选择特定的舞蹈作品,以详细说明特定的编舞家是如何创作该作品的。虽然包括对俄克拉荷马州梦幻芭蕾舞剧的强制性剖析!但正是她对《布卢默女孩》中的“内战芭蕾”的审视和语境化 [结束第 579 页] 不仅提供了对 de Mille 这种独特舞蹈的构建,而且还预示了一种将继续影响编舞者的方法直到今天。


尽管她对 Bloomer Girl 的分析表明了该卷的真正优势,但 Making Broadway Dance 并非没有缺点。她关于杰罗姆·罗宾斯 (Jerome Robbins) 作品的章节详尽无遗,但只有一章,例如,专门......

更新日期:2025-01-29
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