Rodeo (Copland): diferència entre les revisions
Contingut suprimit Contingut afegit
m bot copiant article de {{en}}W:en:Rodeo (Copland) |
m bot preprocessant article previ a la traduccioo automatica |
||
Línia 1:
{{ Portal
..
..
(==) Genesis (==) ..
..
<!-- Deleted image removed: [[Image:bonyparte.png
..
The original ballet was choreographed by
..
De Mille herself played the lead , and the premiere at the Metropolitan Opera House on 16 October 1942 received 22
..
Noted among many reviews was de Mille’s highly evocative
..
(==) Structure and analysis (==) ..
..
The circumstances surrounding the composition of
..
The well-known main theme of "Hoe-Down" is based on a unique version of the American
..
Though it was later criticized for the heteronormativity of the storyline , many of the themes are autobiographical for De Mille. An extremely skilled dancer , the choreographer nonetheless felt awkward in the offstage world , and the Cowgirl's unwillingness to subscribe to traditional gender roles mirrors De Mille's experience. <ref name="pollack" />. ..
..
(===) "Buckaroo Holiday" (===) ..
..
<!-- Deleted image removed: [[Image:rodeoBuckaroo.png
[[Image:sisJoe.png
..
..
(===) "Corral Nocturne" (===) ..
..
At least partially written by
..
(===) "Ranch House Party" (ballet only) (===) ..
..
The subsequent "Ranch House Party" was envisioned by de Mille as "Dance music inside. Night music outside." Indeed , the section opens with a honky-tonk theme played on a piano , accompanied by a more thoughtful clarinet. The Cowgirl finds herself between the Champion Roper and the Wrangler , who are again attracted to the Rancher's Daughter. "Corral Nocturne" is recalled at the end of this section , as the Cowgirl finds herself quite alone. <ref name=crist>. Crist , Elizabeth B. (2005).
..
(===) "Saturday Night Waltz" (===) ..
..
While the "Texas minuet" of the "Saturday Night Waltz" plays at R2 (to de Mille’s transcribed version of "I Ride an Old Paint" - also known as "Houlihan") the cowboys and their girls pair off. Expectant of a partner and finding none , the Cowgirl is alone until the Champion Roper approaches her , having failed to best the Wrangler in winning the affections of the Rancher's Daughter. Both this section and the "Corral Nocturne" feature Copland's characteristic economy of sound , where he uses solo instruments in lieu of entire sections. ..
..
(===) "Hoe-Down" (===) ..
..
<!-- Deleted image removed: [[Image:Mcleod.gif
Finally , the "Hoe-Down" opens by vamping the first bar of [http://againstthemodernworld.blogspot.com/2008/03/bonapartes-retreat.html William H. Stepp's interpretation] of the folk tune "Bonaparte’s Retreat" , which will become a major theme of the section. After a reprisal of the
..
Building toward the end , Copland reintroduces "Bonaparte's Retreat" at R16 in
..
(==) The Ballet and its Place in The Repertoire (==) ..
..
In what is considered one the earliest examples of a truly American Ballet , Rodeo combines the exuberance of a Broadway Musical with the disciplines of Classical Ballet. Of particular note , the First Scene requires men to pantomime riding and roping while dancing solo and dancing in groups (not very common for male ballet dancers) , and while interacting with an awkward Cowgirl , who seeks their acceptance. The cast dresses in stylized western garb , which makes it all the more difficult to execute many of the moves. ..
..
Classical Ballet storylines typically involve some boy-meets-girl relationship , or at most a love triangle. But Rodeo forces an American Cowgirl to compete against an army of local girls in a quest to win the attention of the Champion Roper. The pairing and mutual attraction of the men and women in the cast appears fluid , and at times confusing to the rejected Cowgirl. Against this backdrop , the Cowgirl emotes strength , awkwardness , confidence , femininity and vulnerability , while executing rapid-fire footwork and pantomime , which mimics the bronco-busting of the men. Any comic dancer who plays the Cowgirl must succeed at being a failure , only to emerge triumphant in the end when she finally dons a dress for dance night. ..
..
Regarding this nuanced role , Ms. DeMille has said: "She acts like a boy , not to be a boy , but to be liked by the boys." ..
..
The American Ballet Notes for its 1950 premiere performance (Hessisches Staatstheater , Wiesbaden , Germany) state: Rodeo ... is a love story of the American Southwest. The problem it deals with is perennial: how an American girl , with the odds seemingly all against her , sets out to get herself a man. The girl in this case is a cowgirl , a tomboy whose desperate efforts to become one of the ranch's cowhands create a problem for the cowboys and make her the laughingstock of womankind. ..
..
As noted above , finding suitable Cowgirls to play this role was a challenge.
..
In the 1970's Christine Sarry emerged as DeMille's preferred interpreter of this complex role , liking Sarry's version more than her own. Agnes DeMille stated in her will that only Ms. Sarry was authorized to approve of dancers who could take up the role of the Cowgirl. Since Agnes DeMille's passing , Ms. Sarry has coached and approved numerous dancers in the part. In the 21st century , the list includes: Tina LeBlanc (San Francisco Ballet (2006) , Kristin Long (San Francisco Ballet , 2007) ;
..
Of Ms. Cornejo , critic Jerry Hochman wrote , "Cornejo owns the role now". That being the opinion of just one local critic , it remains to be seen who will be the heir-apparent in the next generation. ..
..
For a point of comparison , it has been nearly 120 years since the premiere of The Nutcracker , and nearly 70 years since the premiere of Rodeo. This increasing longevity , plus the anchoring of Copland’s score in American culture , suggests near-certain permanence for the ballet. Given Ms. Sarry's preference for creative interpretation , the Cowgirl will become an attractive role in the years ahead , for skilled dancers with a comic flair. ..
..
(==) Popular Culture (==) ..
..
A version of the "Hoe-Down" section was recorded by 1970s progressive rock band
..
The music was also famously used as the background theme for the
..
(==) References (==) ..
<references />. ..
..
(==) External links (==) ..
{{ Portal
* [http://www.traditionalmusic.co.uk/our-singing-country/index.html Our Singing Country] ..
* [http://www.traditionalmusic.co.uk/our-singing-country/our-singing-country % 20- % 200349.htm If He'd be a Buckaroo] ..
* [http://www.traditionalmusic.co.uk/our-singing-country/our-singing-country % 20- % 200362.htm Sis Joe] ..
* [http://www.traditionalmusic.co.uk/our-singing-country/our-singing-country % 20- % 200155.htm Bonyparte] ..
* [http://home.cogeco.ca/~scottythefiddler/Miss_McLeod's_Reel.html Miss McLeod's Reel] ..
..
[[Category:Ballets by Agnes de Mille]] ..
[[Category:Compositions by Aaron Copland]] ..
..
[[ja:ロデオ (コープランド)]] ..
paraulesenllacos ..
..
BALLET ..
..
AARON COPLAND ..
..
AGNES DE MILLE ..
..
AGNES DE MILLE ..
..
BALLET RUSSE DE MONTE CARLO ..
..
BALLET THEATRE ..
..
AARON COPLAND ..
..
BILLY THE KID ..
..
OLIVER SMITH ..
..
CURTAIN CALLS ..
..
FREDERIC FRANKLIN ..
..
CASIMIR KOKITCH ..
..
RODGERS AND HAMMERSTEIN ..
..
OKLAHOMA! ..
..
CHOREOGRAPHY ..
..
BOSTON POPS ..
..
FOLK SONG ..
..
WILLIAM HAMILTON STEPP ..
..
ALAN LOMAX ..
..
LIBRARY OF CONGRESS ..
..
RUTH CRAWFORD SEEGER ..
..
CANON ..
..
LEONARD BERNSTEIN ..
..
CANON ..
..
LUCIA CHASE ..
..
BALLET THEATER COMPAMY ..
..
BALLET RUSSE DE MONTE CARLO ..
..
BALLET THEATER COMPAMY ..
..
BOSTON BALLET ..
..
AMERICAN BALLET THEATER ..
..
XIOMARA REYES ..
..
EMERSON LAKE & PALMER ..
..
BÉLA FLECK AND THE FLECKTONES ..
..
BEEF. IT'S WHAT'S FOR DINNER ..
|