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Agnes De Mille Research Paper

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Agnes De Mille & the American Ballet
Born September 18th, 1905, Agnes de Mille is often credited with transforming the American musical theater during the 1940s and 1950s (“Agnes de Mille”). De Mille is a uniquely American choreographer, with her most notable work showcasing traditional American history and movement at a time when traditional American forms were considered outdated and out-of-touch by their trendy Russian and European counterparts (Reprieve 16). De Mille, however, when asked if she felt that she was helping to create a more American style of dance, answered that she was merely making America more conscious of dance (Source). None-the-less, De Mille paved the way for American ballet in the midst of what dance theorists call …show more content…

Musically, the score – made by Morton Gould and specifically commissioned for this production – worked collaboratively with the choreography to fill the stage with a sense of melodrama (Kisselgoff). The choreography utilized a lot of narrative techniques that are often associated primarily with literature; for example, De Mille used flashbacks and dream sequences throughout the production as a means of bringing the story to life in a tangible way (Dunning). The entire ballet begins with Bordon’s flashback from the gallows, followed and supported by symbolic and expressive movement. De Mille’s choreography is made better by her skill as a storyteller, but it also sets her apart from tradition. “Fall River Legend” serves as a very good example of a trend that runs through all De Mille’s work: her movement tells a story by making use of a traditional narrative arc. This tendency of De Mille to treat all dance as a form of story-telling is probably due in large part to her background both as an actress and as a choreographer for musical …show more content…

De Mille felt that dance should behave in relation to the world around it; that dance should not be ambiguous and abstract, but accessible and understandable (Acocella). De Mille’s choreography followed a narrative form and featured overt aspects of American culture; consequently, her work carried the potential for easy consumption by an American audience. One critic wrote of her work, “…Full of fire, even funny, and entirely free of swans!” (Acocella). De Mille’s works was refreshing in that, unlike more classical, abstract ballet, it did not perpetuate the artistic traditions of another nation’s culture; instead, it paved the way for the creation of our own artistic traditions. Ultimately, De Mille believed that the movement of dance should tell a story, and that story was often one depicting American

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