Albion's dance: British ballet during the Second World War
When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's da...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2016]
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| Schlagworte: | |
| Zusammenfassung: | When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress. Karen Eliot danced in the Merce Cunningham Dance Company during the 1980s. She is a Professor in the Department of Dance at The Ohio State University where she has taught for over 20 years. Her books include Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (2007), and the edited anthology, Dance on its Own Terms: Histories and Methodologies (2013) with co-editor Melanie Bales. She serves on the advisory board of Dance Chronicle. Her articles appear in: Dance Chronicle; Dance Gazette; The American Society for Eighteenth-Century Studies Book Reviews Online; and Dance Research Journal. |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XV, 218 Seiten Illustrationen |
| ISBN: | 9780199347629 |
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| 505 | 8 | |a Cover; Titlepage; Copyright; Dedication; Contents; Preface; Acknowledgments; Abbreviations Used in Text; Introduction; 1. The British Ballet and Its Critics at the Onset of War; 2. Making Ballet Central to British Wartime Experience; 3. The Dancers' Experience; 4. Propaganda, Publicity, and Social Pressure: Ballet in Discourse and Deed; 5. The Function of the Classics in Wartime; 6. Programming the Repertoire; 7. British Choreography during the War; Afterword; Notes; Selected Bibliography; Index | |
| 520 | |a When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress. | ||
| 520 | |a Karen Eliot danced in the Merce Cunningham Dance Company during the 1980s. She is a Professor in the Department of Dance at The Ohio State University where she has taught for over 20 years. Her books include Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (2007), and the edited anthology, Dance on its Own Terms: Histories and Methodologies (2013) with co-editor Melanie Bales. She serves on the advisory board of Dance Chronicle. Her articles appear in: Dance Chronicle; Dance Gazette; The American Society for Eighteenth-Century Studies Book Reviews Online; and Dance Research Journal. | ||
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Datensatz im Suchindex
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| any_adam_object | |
| author | Eliot, Karen 1957- |
| author_GND | (DE-588)134059832 |
| author_facet | Eliot, Karen 1957- |
| author_role | aut |
| author_sort | Eliot, Karen 1957- |
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| contents | Cover; Titlepage; Copyright; Dedication; Contents; Preface; Acknowledgments; Abbreviations Used in Text; Introduction; 1. The British Ballet and Its Critics at the Onset of War; 2. Making Ballet Central to British Wartime Experience; 3. The Dancers' Experience; 4. Propaganda, Publicity, and Social Pressure: Ballet in Discourse and Deed; 5. The Function of the Classics in Wartime; 6. Programming the Repertoire; 7. British Choreography during the War; Afterword; Notes; Selected Bibliography; Index |
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| discipline | Allgemeines Musikwissenschaft |
| era | Geschichte 1900-2000 |
| era_facet | Geschichte 1900-2000 |
| format | Book |
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| spelling | Eliot, Karen 1957- (DE-588)134059832 aut Albion's dance British ballet during the Second World War Karen Eliot New York, NY Oxford University Press [2016] © 2016 XV, 218 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Cover; Titlepage; Copyright; Dedication; Contents; Preface; Acknowledgments; Abbreviations Used in Text; Introduction; 1. The British Ballet and Its Critics at the Onset of War; 2. Making Ballet Central to British Wartime Experience; 3. The Dancers' Experience; 4. Propaganda, Publicity, and Social Pressure: Ballet in Discourse and Deed; 5. The Function of the Classics in Wartime; 6. Programming the Repertoire; 7. British Choreography during the War; Afterword; Notes; Selected Bibliography; Index When the Second World War broke out, ballet in Britain was only a few decades old. Few had imagined that it would establish roots in a nation long thought to be unresponsive to dance. Nevertheless, the war proved to be a boon for ballet dancers, choreographers and audiences, for the nation's dancers were forced to look inward to their own identity and sources of creativity. As author Karen Eliot demonstrates in this fascinating book, instead of withering during the enforced isolation of war, ballet in Britain flourished, exhibiting a surprising heterogeneity and vibrant populism that moved ballet outside its typical elitist surroundings to be seen by uninitiated, often enthusiastic audiences. Ballet was thought to help boost audience morale, to render solace to the soul-weary and to afford entertainment and diversion to those who simply craved a few hours of distraction. Government authorities came to see that ballet could serve as a tool of propaganda; the ways it functioned within the larger public discourse of propaganda and sacrifice, and how it answered a public mood of pragmatism and idealism, are also topics in this story of the development of a national ballet identity. This narrative has several key players- dance critics, male and female dancers, producers, audiences, and choreographers. Exploring the so-called "ballet boom" during WWII, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress. Karen Eliot danced in the Merce Cunningham Dance Company during the 1980s. She is a Professor in the Department of Dance at The Ohio State University where she has taught for over 20 years. Her books include Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (2007), and the edited anthology, Dance on its Own Terms: Histories and Methodologies (2013) with co-editor Melanie Bales. She serves on the advisory board of Dance Chronicle. Her articles appear in: Dance Chronicle; Dance Gazette; The American Society for Eighteenth-Century Studies Book Reviews Online; and Dance Research Journal. Geschichte 1900-2000 Geschichte Weltkrieg (1939-1945) Ballet Great Britain History 20th century Dance Great Britain History 20th century World War, 1939-1945 Great Britain Zweiter Weltkrieg (DE-588)4079167-1 gnd rswk-swf Ballett (DE-588)4004351-4 gnd rswk-swf Großbritannien Großbritannien (DE-588)4022153-2 gnd rswk-swf Großbritannien (DE-588)4022153-2 g Ballett (DE-588)4004351-4 s Zweiter Weltkrieg (DE-588)4079167-1 s DE-604 Erscheint auch als Online-Ausgabe, updf 978-0-19-934763-6 Erscheint auch als Online-Ausgabe, epub 978-0-19-062242-8 |
| spellingShingle | Eliot, Karen 1957- Albion's dance British ballet during the Second World War Cover; Titlepage; Copyright; Dedication; Contents; Preface; Acknowledgments; Abbreviations Used in Text; Introduction; 1. The British Ballet and Its Critics at the Onset of War; 2. Making Ballet Central to British Wartime Experience; 3. The Dancers' Experience; 4. Propaganda, Publicity, and Social Pressure: Ballet in Discourse and Deed; 5. The Function of the Classics in Wartime; 6. Programming the Repertoire; 7. British Choreography during the War; Afterword; Notes; Selected Bibliography; Index Geschichte Weltkrieg (1939-1945) Ballet Great Britain History 20th century Dance Great Britain History 20th century World War, 1939-1945 Great Britain Zweiter Weltkrieg (DE-588)4079167-1 gnd Ballett (DE-588)4004351-4 gnd |
| subject_GND | (DE-588)4079167-1 (DE-588)4004351-4 (DE-588)4022153-2 |
| title | Albion's dance British ballet during the Second World War |
| title_auth | Albion's dance British ballet during the Second World War |
| title_exact_search | Albion's dance British ballet during the Second World War |
| title_full | Albion's dance British ballet during the Second World War Karen Eliot |
| title_fullStr | Albion's dance British ballet during the Second World War Karen Eliot |
| title_full_unstemmed | Albion's dance British ballet during the Second World War Karen Eliot |
| title_short | Albion's dance |
| title_sort | albion s dance british ballet during the second world war |
| title_sub | British ballet during the Second World War |
| topic | Geschichte Weltkrieg (1939-1945) Ballet Great Britain History 20th century Dance Great Britain History 20th century World War, 1939-1945 Great Britain Zweiter Weltkrieg (DE-588)4079167-1 gnd Ballett (DE-588)4004351-4 gnd |
| topic_facet | Geschichte Weltkrieg (1939-1945) Ballet Great Britain History 20th century Dance Great Britain History 20th century World War, 1939-1945 Great Britain Zweiter Weltkrieg Ballett Großbritannien |
| work_keys_str_mv | AT eliotkaren albionsdancebritishballetduringthesecondworldwar |