By Joseph Horowitz
Many years of warfare and revolution in Europe compelled an "intellectual migration" over the last century, moving hundreds of thousands of artists and thinkers to the U.S.. for lots of of Europe's greatest appearing artists, the USA 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, etc, Artists in Exile explores the effect that those well-known beginners had on American tradition, and that the United States had on them.
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Additional resources for Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts
26 ARTISTS IN EXILE Diaghilev tutored and advised his new ballet master. He introduced Balanchine to music he did not know. He shared with him the mysteries and treasures of Italian churches and museums. Meanwhile, Balanchine sharpened the Ballets Russes corps, revised ballets in repertoire, and created new works. He also did a certain amount of dancing. In blackface as Snowball, in The Triumph of Neptune, he created an American minstrel type whose cakewalk antics—a “paradoxical blend of pretended nervous apprehension and blustering conﬁdence,” wrote the British dance critic Cyril Beaumont2—capitalized on the blurring of art and entertainment that Diaghilev the worldly eclectic and provocateur more than sanctioned.
He espoused a pure dance art eschewing stereotyped steps; his troupe danced barefoot and scantily clad. Balanchivadze was galvanized by Goleizovsky’s heresies. ” Balanchivadze’s contributions, set to Ravel and Chopin, and to his own Extase, created a sensation. Subsequent Evenings ranged from classical adagios to fox-trots. Balanchivadze’s vocabulary included elements of acrobatics, popular dance, and cabaret. This intermingling of tradition and innovation fed the American dance artist to come.
27 A series of collapsed collaborations fed Four Norwegian Moods, Scherzo à la Russe, Ode, and Symphony in Three Movements, all containing music originally conceived for sound tracks. The failure of the Los Angeles Philharmonic to acknowledge Stravinsky’s eightyﬁ fth birthday, in 1967, was a watershed in his alienation from the city in which he had established residence nearly three decades before. His singular association with the Boston Symphony, which he guest-conducted nineteen times, ended with the death of Serge Koussevitzky in 1951.
Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts by Joseph Horowitz