By Marc Raymond Strauss
Widespread dance critic Arlene Croce wrote for The New Yorker throughout the Nineteen Seventies, ’80s and ’90s. via greater than 2 hundred reviews in that journal, she proven a classical aesthetic framework for dance, influencing the paintings of diverse modern critics in addition to the tastes of audiences. This ebook explores that framework and offers an interpretive research of the biographical, expert and historic components that contributed to the context of Croce’s paintings. subject matters contain Croce’s predecessors in dance feedback, appropriate twentieth-century contemporaries and the journalistic philosophy of The New Yorker. delivering 10 of Croce’s essays of their entirety, the writer discusses the 3 particular components of creative excellence that Croce always utilized in her reviews: sympathetic musicality, Apollonian craftsmanship and the enlivening strength of culture. detailed realization is given to the literary and rhetorical traits of Croce’s paintings. ultimately, appendices provide a close topic breakdown of themes in Croce’s essays, directory (by frequency of visual appeal) dance businesses, dancers, choreographers, dance kinds, ballets, and subject matters.
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Extra resources for The Dance Criticism of Arlene Croce: Articulating a Vision of Artistry, 1973-1987
The Renaissance fashioned the ballet on classic models and went back to the Greeks for rules to govern it [cited in Copeland & Cohen, ¡983, pp. 47–48]. Levinson’s appeal to the classical features of the dance is a clear precursor to Croce’s own formalistic concerns. Written 48 years after Levinson’s 2. ” But by Pavlova’s time, which was when Van Vechten wrote, the choreographic design of the ¡84¡ Giselle had been much modified, and Adam’s light sca›olding was being used to support the more fully buttressed architecture of Petipa’s revisions of the ’80s and ’90s.
343]. This accumulation of imaginative forces translates into a genuine kinesthetic resource for the critic, Croce contends. Another similarity between the two writers, as intimated in Van Vechten’s short excerpt quoted earlier, is one of shared participation at a dance concert. “It was Edwin’s great gift to illuminate the experience 2. Arlene Croce’s Professional Heritage 33 of the subjectivity in watching dance” (Croce, ¡987, pp. 335–336). Likewise, her own writing works on her readers to recreate for themselves her experience as an audience member: “The Denby commentary, its centerpiece, was unique in giving us the mind of the critic together with the object it is fixed upon” (Croce, ¡987, p.
In Danses Concertantes, the moment eludes me. Although Eugene Berman’s frontcloth says ¡944, the program says “New choreography by George Balanchine,” and what Balanchine in part created and in part reconstructed for his revival in ¡972 doesn’t add up to a major work either of the ’40s or the ’70s. To read about the original Danses Concertantes, which starred Alexandra Danilova and Frederic Franklin with the Ballet Russe de Monte Carlo, is to anticipate a joyous tease of a ballet—modest, light, and playful.