| Popis: |
Examination of Agnes de Mille as a radical dance maker in her choreographic trifecta—Oklahoma! (1943), One Touch of Venus (1943), and Bloomer Girl (1944)—reveals an ideological shift in the production of dance on Broadway and the development of a paradigm for making dances in the musical theater. This chapter further explores de Mille’s ability to employ dance as a medium for presenting social commentary, developing character, and creating a space for female spectatorship. Her artistic project required dancers who were not merely technicians but rather actor-dancers capable of embodying character and expressing legible story through dance. Displacing the stable of Broadway chorus men and women, de Mille introduced the actor-dancer to the commercial stage, thereby developing some of the greatest dance talents of the twentieth century, including Joan McCracken, Bambi Linn, Sono Osato, and James Mitchell. Selected dances from One Touch of Venus (1943), Bloomer Girl (1944), and Carousel (1945) are analyzed. |
