By Laura Katz Rizzo
utilizing broad archival study, dance research, and American feminist concept, Dancing the Fairy story places ladies on the heart of a ancient narrative to bare how the construction and function of The slumbering good looks within the years among 1937 and 2002 made major contributions to the improvement and institution of an American classical ballet. Katz Rizzo highlights not just what girls have performed not just backstage, as directors, manufacturers, or administrators of ballet businesses and colleges, but additionally as lively interpreters embodying the ballet's identify role.
within the procedure, Katz Rizzo additionally emphasizes the significance of nearby websites outdoor of destinations typically understood as imperative to the advance of ballet within the United States.
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Additional info for Dancing the Fairy Tale: Producing and Performing The Sleeping Beauty
In 1970, Ben Stevenson staged it for the National Ballet of Washington. Lucia Chase, co-director of American Ballet Theatre, finally produced a full-length version in 1976. Various other regional and major companies performed Beauty throughout the 1970s, 1980s, and 1990s, with Helgi Thomason producing the work for the San Francisco Ballet in 1990 and the Boston Ballet performing different versions of Beauty in 1976, 1977, 1978, 1979, 1980, 1993, 1996, 2001, 2005, 2009, and 2013. With the explosion of regional ballet and the advent of video technology, the mid-1990s saw The Sleeping Beauty in the repertoires of hundreds of companies around the world and well known by virtually all loyal devotees of the ballet.
Shifting the Discourse of Dance Studies The implications of these three shifts—from the audience to the stage, from men to women, and from New York to the many American cities in which ballet flourishes—are clear. The fourth part of this book’s argument challenges the current understandings of bal- Women Creating Ballet • 23 let that have led to misconceptions about the genre and resulted in ballet dancers and academics looking at one another from across a vast divide. Precisely because of the nature of training, with conservatory-style, repetitive work as a foundation for proficiency in ballet, and because of the short time span of a ballet dancer’s career, ballet dancers rarely receive postsecondary education.
With the explosion of regional ballet and the advent of video technology, the mid-1990s saw The Sleeping Beauty in the repertoires of hundreds of companies around the world and well known by virtually all loyal devotees of the ballet. 47 None of the choreographers or producers of these ballets, however, could claim to have produced an authentic reconstruction of Petipa’s famous premiere. This changed when the Kirov Ballet undertook a historic “reconstruction” of the work in 1999 and repeated this production on tour in 2002.
Dancing the Fairy Tale: Producing and Performing The Sleeping Beauty by Laura Katz Rizzo