| Popis: |
This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the individuated chorus, and how a few dance directors began to consider dance in musicals in relation to the libretto as an integrated and meaningful addition to the musical play. The common practice of Black choreographers being pushed aside while white choreographers claimed credit for their work and the essential role Black dance teachers and coaches played in training white dancers for Broadway is discussed here. Examinations of choreographic works by dance directors Buddy Bradley, Charlie Davis, Seymour Felix, Sammy Lee, Albertina Rasch, and George Balanchine establish a historical basis in preparation for the radical innovations to be discussed in subsequent chapters. |
