Don't Act, Just Dance
At some point in their career, nearly all the dancers who worked with George Balanchine were told adonat act, dear; just dance.a The dancers understood this as a warning against melodramatic over-interpretation and an assurance that they had all the tools they needed to do justice to the stepsabut its implication that to dance is already to act in a manner both complete and sufficient resonates beyond stage and studio. Drawing on fresh archival material, Donat Act, Just Dance places dance at the center of the story of the relationship between Cold War art and politics. Catherine Gunther Kodat takes Balanchineas catch phrase as an invitation to explore the politics of Cold War cultureain particular, to examine the assumptions underlying the role of aapoliticala modernism in U.S. cultural diplomacy. Through close, theoretically informed readings of selected important worksaMarianne Mooreas aCombat Cultural, a dances by George Balanchine, Merce Cunningham, and Yuri Grigorovich, Stanley Kubrickas Spartacus, and John Adamsas Nixon in ChinaaKodat questions several commonly-held beliefs about the purpose and meaning of modernist cultural productions during the Cold War. Rather than read the dance through a received understanding of Cold War culture, Donat Act, Just Dance reads Cold War culture through the dance, and in doing so establishes a new understanding of the politics of modernism in the arts of the period.Gregorya#39;s admirable essay grants the poem a certain seriousness of purpose. However, in describing it asoneof a group of poems in which ahigh and low [ brow values] interpenetrateto createathicker versionof reality thaneither cananbsp;...
| Title | : | Don't Act, Just Dance |
| Author | : | Catherine Gunther Kodat |
| Publisher | : | Rutgers University Press - 2014-12-26 |
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