Lavishly illustrated with a wide range of extraordinary photographs, this collection of essays takes a provocative look at the history of the New York City Ballet, placing it within the context of the city's changing intellectual and cultural landscape and underscoring its role in the development of a distinctly American aesthetic.
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Lavishly illustrated with a wide range of extraordinary photographs, this collection of essays takes a provocative look at the history of the New York City Ballet, placing it within the context of the city's changing intellectual and cultural landscape and underscoring its role in the development of a distinctly American aesthetic.
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Used book in good and clean conditions. Pages and cover are intact. Limited notes marks and highlighting may be present. May show signs of normal shelf wear and bends on edges. Item may be missing CDs or access codes. May include library marks. Fast Shipping.
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Fair. Item in acceptable condition including possible liquid damage. As well answers may be filled in. May be missing DVDs, CDs, Access code, etc. 100%Money-Back Guarantee! Ship within 24 hours! ! This is a ex library book, stickers and markings accordingly.
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Good. Prompt shipment, with tracking. we ship in CLEAN SECURE boxes Dance: Good Ex-library Hardcover with Dust Jacket, contains pocket, stamps, label, Library Binding, Clean Pages, Prompt shipping with tracking.
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b/w Photos. Fine in Near Fine jacket. Since its inception fifty years ago the New York City Ballet has been a vital force in American dance and an essential component of American cultural life. As the vehicle for the development and expression of George Balanchine's immensely influential artistic vision--as well as that of other eminent choreographers--the company has created a vast and significant body of work. Its dancers, choreographers, and artistic directors have seeded new dance companies around the nation, disseminating both the NYCB's repertory and its lofty standards of virtuosity. The company's numerous close ties with the overlapping New York artistic and intellectual worlds have played an important part in the foundation of many of the artistic movements of the twentieth century. Exploring these and other achievements with critical acumen, Dance for a City--produced in conjunction with a major exhibition at the New-York Historical Society--examines the rich history, cultural significance, and continuing accomplishments of America's premier ballet company. Lavishly illustrated with a wide range of extraordinary photographs, this collection of essays--edited by dance scholar and exhibition curator Lynn Garafola and historian Eric Foner--takes a new and provocative look at the history of the New York City Ballet, placing it within the context of the city's changing intellectual and cultural life and underscoring its role in the development of a distinctly American aesthetic. Drawing on the perspectives of dance scholars, urbanists, musicologists, art historians, and scholars of gay history, Dance for a City explores the many art forms and artistic figures associated with the company, revealing the complex forces that contributed to its success, its representation in the broader cultural milieu, and its formative role in American dance during the past half-century.
I purchased the book because I already own the 25th anniversary volume and another 50th anniversary one, so together they make an impressive collection. The book came to me in rural England, via Alibris, from Eric Papenfuse in Harrisburg, Pennsylvania. I still find it thrilling to think that a book no one wants can travel half way across the world to be loved by me!
The book is in large format with thick, creamy paper and illustrated with black and white photos throughout. The front dust jacket features an unnattractive photo and the title lettering lacks impact. Specialist ballet knowledge is not required to enjoy the text, produced in conjunction with an exhibition at the New York Historical Society. It would appeal to anyone interested in the arts. Each chapter has been written by a different contributor on an aspect of the company. There was an interview with George Balanchine; a portfolio of photos of Jerome Robbins; the editor wrote a history of the company from its humble origins; Richard Sennett wisely expresses his belief that ballet is music made visible. I particularly enjoyed the review of ballet photos taken by George Platt Lynes, although when I finally made out the abstract on page 144, I almost fell off the settee with shock. It was, surely, innapropriate. I would have liked to have seen some colour photographs and again, I wonder why neither Peter Martins, nor any of the dancers were approached for their input.
