Ballet choreographer biography

As an immigrant from Eastern Europe with deep American patriotism, Balanchine was in a peculiar position as a cultural ambassador. Under the Lacy-Zarubin agreementthe USA and Russia agreed to diplomacy through cultural and educational exchanges. The influence of the Ballets Russes and Russian technique was found within his work by Russian audiences.

At the same time, some audience members, accustomed to the linear nature of Russian theater, did not understand the abstract nature of his work. In either case, Balanchine served as a cultural connection between two opposing countries. However, although Balanchine was a uniting link in a strained time, he also harmed international dance. At the New York City Ballet, the male choreographer was the creator and the female dancer was the created.

In many ways, this meant that the female dancer had little artistic and personal autonomy. Women ballet choreographer biography under Balanchine were at the mercy of his personal tastes and whims. Balanchine had a habit of marrying his workers; perhaps he picked up the habit from Diaghilev. In the past, he had married Tamara Geva and Vera Zorina, both of whom were often the subjects of his work.

Additionally, he also pursued dancer Suzanne Farrel. These women were all prolific dancers in their own right; Maria Tallchief, for example, was the first indigenous American ballerina. Gelsey Kirkland, a famed ballerina, states that Balanchine was a womanizer through and through and potentially used his influence to secure these marriages.

George Balanchine is known for his mistreatment of women through the romantic pursuit of his workers and the body image ideals he pushed on his female dancers. To Balanchine, a successful ballerina was thin and as quick as a hummingbird. By the same token, romantic and sexual exploitation still exist at the NYCB as well. Michael Jackson. Patrick Swayze.

Ariana DeBose. Bill "Bojangles" Robinson. Alvin Ailey. Maria Tallchief. Gene Kelly. Legacy and Death In addition to ballet, Balanchine choreographed Hollywood movies and Broadway musicals. Watch Next. This move was significantly influenced by his meeting with Lincoln Kirstein inwho envisioned the establishment of ballet tradition at Lincoln Center.

Together, they embarked on New York City d on a mission to try to train dancers—the school scene. To train dancers, Balanchine and Kirstein founded the S becoming on January 2,in New York City, which later became the resident ballet company at the Metropolitan Opera. This institution became the cornerstone of their efforts to cultivate a distinct American ballet style.

The first performing group from the school was formed inmarking the beginning of a new era in American dance. This piece showcased his innovative approach to ballet and signified his American debut in choreography. His vision and dedication laid the groundwork for the New York City Ballet. Moving to America marked the start of a transformative period in his career, and he left an indelible mark on the world of dance.

Emerging from the Ballet Society, the New York City Ballet quickly became one of the foremost ballet companies in the world. His vision for the company was not just about performance but about creating a lasting legacy in the ballet world. Under his leadership, the New York City Ballet became renowned for its distinctive style and artistic excellence.

His influence as a ballet choreographer covered choreography and the overall aesthetic, from minimalist costumes to innovative stage designs. His contributions transformed the company into a global standard-bearer for ballet, influencing countless dancers and choreographers worldwide.

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He developed a neoclassical style that integrated traditional ballet elements with abstract and contemporary movements, creating a new and dynamic form of expression. This approach allowed him to push the boundaries of ballet and captivate audiences with innovative and visually stunning performances. His emphasis on speed, athleticism, and precision in his choreography represented a significant evolution within classical ballet.

These innovations defined his work and influenced future generations of dancers and choreographers. This piece exemplified his innovative approach to ballet, focusing on the beauty of movement and the interplay between music and dance. Even after immigrating to the United StatesBalanchine tried to stay connected to his Georgian roots and engaged with Georgian artists, who admired him, from across the Iron Curtain.

As a child, Balanchine was not particularly interested in ballet, but his mother insisted that he audition with his sister Tamara, who shared her mother's interest in the art. Balanchine's brother Andria Balanchivadze instead followed his father's love for music and became a composer in Soviet Georgia. Tamara's career, however, would be cut short by her death in unknown circumstances as she was trying to escape on a train from besieged Leningrad to Georgia.

Based on his audition, during at age nineBalanchine relocated from rural Finland [ clarification needed ] to Saint Petersburg and was accepted into the Imperial Ballet Schoolprincipal school of the Imperial Balletwhere he was a student of Pavel Gerdt and Samuil Andrianov Gerdt's son-in-law. Balanchine spent the World War I years at the Mariinsky Theater until it closed down in due to a government decree.

Attending ballet here could have been viewed as a convenience to the Balanchivadze family because this is where his father composed music.

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This theater was transferred to the People's Enlightenment Commissariat and became property of the state. The Theater reopened inthen two years later the theater was called the State Academic Theater of Opera and Ballet. He mounted some new and experimental ballets for the Mikhailovsky Theatre in Petrograd. His studies at the conservatory included advanced piano, music theory, counterpoint, harmony, and composition.

Balanchine graduated from the conservatory inand danced as a member of the corps until While still in his teens, Balanchine choreographed his first work, a pas de deux named La Nuitmusic by Anton Rubinsteina piece which the school of directors did not approve of or like. George Balanchine went about his choreography in an experimental way during the evening time.

He and his colleagues eventually performed this piece at the State School of Ballet. This was followed by another duet, Enigmawith the dancers in bare feet rather than ballet shoes. While teaching at the Mariinsky Ballethe met Tamara Gevahis future wife. Inthe Young Ballet managed to obtain a permission to leave Russia and tour around Europe.

Geva wrote later, that in that time they had to dance 'in small dark places, in summer theaters and private ballrooms, in beer gardens and before mental patients'. They could barely afford paying for hotels and often had only tea for meal. With expiring visas, they were not welcome in any other European country. They moved to Paris, where there was a large Russian community.

At this time, the impresario Sergei Diaghilev invited Balanchine to join the Ballets Russes as a choreographer. Balanchine was 21 at the time and became the main choreographer for the most famous ballet company. Sergei Diaghilev insisted that Balanchine change his name from Balanchivadze to Balanchine. Diaghilev soon promoted Balanchine to ballet master of the company and encouraged his ballet choreographer biography.

Between and Diaghilev's death inBalanchine created ten ballets, as well as lesser works. During these years, he worked with composers such as Sergei ProkofievIgor StravinskyErik Satieand Maurice Raveland artists who designed sets and costumes, such as Pablo PicassoGeorges Rouaultand Henri Matissecreating new works that combined all the arts. He described it as "the turning point in my life".

Apollo brought the male dancer to the forefront, giving him two solos within the ballet. Apollo is known for its minimalism, using simple costumes and sets. This allowed the audience not to be distracted from the movement. Balanchine considered music to be the primary influence on choreography, as opposed to the narrative. Due to a serious knee injury, Balanchine had to limit his dancing, effectively ending his performance career.

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So he decided to focus all his attention on choreography. After Diaghilev's death, the Ballets Russes went bankrupt. To earn money, Balanchine began to stage dances for Charles B. Cochran 's revues and Sir Oswald Stoll 's variety shows in London. He was retained by the Royal Danish Ballet in Copenhagen as a guest ballet master. Among his new works for the company were Danses Concertantesa pure dance piece to music by Stravinsky, and Night Shadowrevived under the title La Sonnambula.

The new company hired Leonide Massine and Balanchine as choreographers. Featured dancers included David Lichine and Tatiana Riabouchinska. Inwithout consulting Blum, Col. Librettist Boris Kochno was also let go, while dancer Tamara Toumanova a strong admirer of Balanchine left the company when Balanchine was fired. Balanchine and Kochno immediately founded Les Balletswith Kochno, Diaghilev's former secretary and companion, serving as artistic advisor.

The company was financed by Edward Jamesa British poet and ballet patron. The company lasted only a couple of months duringperforming only in Paris and London, when the Great Depression made arts more difficult to fund. Balanchine created several new works, including collaborations with composers Kurt WeillDarius MilhaudHenri Sauguet and designer Pavel Tchelitchew.

Balanchine moved to America in at the behest of Lincoln Kirstein. Balanchine insisted that his first project in the United States would be to establish a ballet school because he wanted to develop dancers who had strong technique along with his particular style. Compared to his classical training, he thought they could not dance well. With the assistance of Lincoln Kirstein and Edward M.

Warburgthe School of American Ballet opened to students on January 2,less than three months after Balanchine arrived in the U. Later that year, Balanchine had his students perform in a recital, where they premiered his new work Serenade to music by Tchaikovsky at Woodlands, the Warburg summer estate.