Victory Garden Ruth Page's Danced Poems in the Time of World War II
Meglin, Joellen A. ( 1931- )
Victory Garden Ruth Page's Danced Poems in the Time of World War II / Joellen A. Meglin .-- Edinburgh: : Edinburgh University Press, , 2012
35 p.
Dance Research -- Vol. 30, núm. 1, Summer 2012, p. 22 - 56
RESUMEN: During the years 1943-1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances With Word and Music. The progremme consisted of solo dance accompanied by the poems of Dorothy Parker, Ogden Nahs, e.e. cummings, Federico García Lorca, Langton Hughes, Hilaire Belloc, Edna St. Vicent Millay, and others. Page performance her dance poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago and a Jacob´s Pillow. She also toured extensively to smallersitied scattered thoughout the Midwest and South, aponsored by colleges and universities, as well as civic associations, independent producers, women´s clubs, and USOs. I argue that Page´s marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a delibetare strategy to position herself as a front-runner on tha American scene - an architect of the american ballet with a sensitive "vernacular ear" a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.
Victory Garden Ruth Page's Danced Poems in the Time of World War II / Joellen A. Meglin .-- Edinburgh: : Edinburgh University Press, , 2012
35 p.
Dance Research -- Vol. 30, núm. 1, Summer 2012, p. 22 - 56
RESUMEN: During the years 1943-1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances With Word and Music. The progremme consisted of solo dance accompanied by the poems of Dorothy Parker, Ogden Nahs, e.e. cummings, Federico García Lorca, Langton Hughes, Hilaire Belloc, Edna St. Vicent Millay, and others. Page performance her dance poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago and a Jacob´s Pillow. She also toured extensively to smallersitied scattered thoughout the Midwest and South, aponsored by colleges and universities, as well as civic associations, independent producers, women´s clubs, and USOs. I argue that Page´s marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a delibetare strategy to position herself as a front-runner on tha American scene - an architect of the american ballet with a sensitive "vernacular ear" a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.