By Joseph Horowitz
Many years of struggle and revolution in Europe compelled an "intellectual migration" over the past century, moving millions of artists and thinkers to the us. for lots of of Europe's premiere acting artists, the US proved to be a vacation spot either unusual and opportune. that includes the tales of George Balanchine, Kurt Weill, Fritz Lang, Billy Wilder, Greta Garbo, Marlene Dietrich, and so on, Artists in Exile explores the impression that those recognized beginners had on American tradition, and that the USA had on them.
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Extra info for Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts
His favorite music, in his last years, was the late Beethoven string quartets. Though Stravinsky was often regarded as the leading composer of the twentieth century, his twenty-ﬁrstcentury reputation is for the moment unsettled. His catalogue of six decades is more uneven than his champions ever supposed. In retrospect, his more questionable works—the episodic Symphony in C of 1940, for example, with its stretches of ostinato chugging—are arguably inferior to the ripest, most incisive music of contemporaries his adherents held in contempt: the incurable Romantics Sibelius and Rachmaninoff.
For the moment, he had found happier employment uptown. Choreographing Rodgers and Hart’s On Your Toes (1936), he had created a landmark Broadway ballet, HOW TO BECOME AN AMERICAN 31 Slaughter on Tenth Avenue, for Tamara Geva (whom he had both partnered and married in Petrograd) and Ray Bolger. ” Bolger, who danced in two more shows choreographed by Balanchine, said that it was like spinning from Juilliard to the Louvre to the Royal Academy of Dramatic Arts to Stillman’s Gymnasium. Bolger also said that Balanchine taught Broadway “that in the American musical you don’t have to do kick, stomp, thump, turn, jump, turn, kick.
6 The premiere, on May 19, 1936, was received with titters, yawns, and weak applause. There was one subsequent performance. When the American Ballet quit the company in 1938, Balanchine permitted himself a rare expression of anger. “The Met is a heap of ruins,” he told the press. For the moment, he had found happier employment uptown. Choreographing Rodgers and Hart’s On Your Toes (1936), he had created a landmark Broadway ballet, HOW TO BECOME AN AMERICAN 31 Slaughter on Tenth Avenue, for Tamara Geva (whom he had both partnered and married in Petrograd) and Ray Bolger.