332:, the leader of the company, told Robbins, "You did it, you have a ballet! We could give you another year, but it's been two already." Frohlich felt that Robbins still completed the ballet quickly, and believed it was because Robbins was unable to demonstrate the steps to the dancers then reconsider it. Instead, he had to come up with a series of movements completely before giving them to the dancers.
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Robbins described working with the young cast, "I can't show them what I want them to do so they all move around with stiff-legged movements imitating me and not my intentions... The kids realize I'm not my old self and are trying to be helpful. They are a lovely bunch. I don't know how they remember
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in 1995. On the music, he said, "I find the richness very, very exciting, thrilling, and disturbing in a way... It doesn't seem like something by an old man... He's taking strange journeys while searching out all the things he wants to find out". With his poor health, Robbins worked on and off for
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commented, "A large-scale ensemble piece structured along classical lines, it contains no implied relationships, and the dancers are not individually characterized. But a closer look reveals that it is also merely the latest in
Robbins's long series of dances about dancers specifically, a corps of
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In his biography of
Robbins, Greg Lawrence described, "the ballet began with a festive folk dance, and from there the dancing alternated between duets for the principals and group formations for the rest of the communal gathering. The configurations were often quite intricate and marked by
300:. Though Robbins usually inform the dancers the synopsis of the ballet from the outset, he did not tell the pair whether the pas de deux was an experiment or part of a bigger piece. He then brought in another pair of principal dancers,
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Boal believed that
Robbins choreographed 90 minutes of material but only 40 minutes are used in the ballet. According to Boal, towards the end of the creation process, Robbins was struggling to complete the finale.
339:, with the dancers in peasant attires. Robbins gave many directions to her, such as "green with a little bit of yellow and not too close to blue", resulting in her re-dyeing the fabrics many times.
168:, including the entirety of No. 3, and the second movement of No. 2, fourth movement of No. 1 and the third movement of No. 6. The ballet is danced by four principal dancers and a
316:, a member of the corps de ballet, recalled that there were months when Robbins would show the ballet to different people, which Millepied believed stemmed from the practice of
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designed the lighting. The ballet was funded by New York City Ballet's New
Combination Fund, which was founded six years prior to the premiere to support new choreography.
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opined, "Never has Mr. Robbins moved bodies in space with such dazzling speed and density. Choreographically, he has outdone himself here."
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which incorporates all the choreographer's signature moves." Dance critics noticed the ballet echoes
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Teachout, Terry (April 1997). "Choreography by Jerome
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two years to complete the ballet, during which he had
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After
Robbins used Bach's music for his 1971 ballet
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541:Jerome Robbins: His Life, His Theater, His Dance
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151:is Robbins' last work.
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901:Ives, Songs
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768:Brandenburg
680:Brandenburg
359:Brandenburg
347:Brandenburg
337:Holly Hynes
286:pas de deux
279:Brandenburg
266:Brandenburg
244:Development
160:Brandenburg
149:Brandenburg
116:Brandenburg
89:Holly Hynes
24:Brandenburg
1062:Categories
873:In G Major
810:Fancy Free
570:Commentary
419:References
306:Peter Boal
237:Fancy Free
57:1997-01-22
1010:Peter Pan
985:Watermill
978:Tricolore
922:Les Noces
894:Interplay
747:Andantino
578:195872480
231:Interplay
1002:Musicals
775:The Cage
574:ProQuest
476:June 21,
288:for two
49:Premiere
817:Fanfare
725:Ballets
225:Fanfare
195:Author
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1013:(1954)
803:Dybbuk
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82:Design
1029:Films
915:Moves
379:Notes
119:is a
103:Genre
39:Music
602:ISBN
546:ISBN
510:ISBN
478:2022
407:and
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