By Joseph Horowitz
Many years of struggle and revolution in Europe compelled an "intellectual migration" over the past century, moving hundreds of thousands of artists and thinkers to the USA. for plenty of of Europe's best acting artists, the United States 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, and so on, Artists in Exile explores the influence that those recognized beginners had on American tradition, and that the US had on them.
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Extra info for Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts
Stravinsky was “perplexed and jittery,” according to his publisher Gabriel Paichadze. “He could neither eat nor sleep, he could not work . . he got angry, nervous and irritable. ”19 Stravinsky ﬂed with Vera to begin anew. Months after Vera arrived in the United States, they married in Massachusetts in 1940. They settled in Los Angeles and applied for naturalization. America, for Stravinsky, was a refuge from the past. But in itself it held no obvious attractions. His elitist politics and personality remained those of a ﬁnicky Parisian or of a Russian dispossessed by Lenin.
18 The dance historian Brenda Dixon Gottschild has additionally proposed that, on a deeper level, the Americanisms of the Balanchine style—whether offshoots of Broadway, Hollywood, or jazz—align with African-American dance as experienced in Paris (where Balanchine danced Snowball in blackface for Diaghilev and later worked with Josephine Baker), on Broadway (where he admired the “rhythm and precision” of Katherine Dunham’s dancers in Cabin in the Sky*), or at the City Ballet (where his AfricanAmerican soloist Arthur Mitchell, once a tap dancer, was regularly invited to “show these kids old-fashioned jazz”).
The attire— scenery, lighting, costuming—is simplicity itself. The thirty minutes of Serenade suggest a trajectory of maturation starting in semidarkness with the dancers assuming the ﬁrst position: a chrysalis. The stage brightens and the dancing begins. The second movement is a gentle waltz. The third (not part of 34 ARTISTS IN EXILE the original ballet) is a vigorous Russian dance that high-kicking Moiseyev Cossacks might have appropriated, here deracinated as an exhilarating catalyst for freed bodies and spirits.
Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts by Joseph Horowitz