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Sidney Jackson Jowers

y dress. Baroque operas included many balletic interludes and divertissements to amuse the audience and give the singers a rest. Menestrier recommends that in each scene the dancers should be dressed alike, and that they should not appear twice in the same costume. He suggests successive entrées of soldiers, shepherds, gods from ancient legend, thieves, animals, genii, American Indians, Persians and Moors. The expense of such a quantity of costumes could not be borne by individual performers, so managements paid for opera-ballet clothing (unlike the system in French


Roger Savage, Barry Millington, and John Cox

Dressed: Eighteenth Century Acting’, Proceedings of the Modern Language Association of America , 58 (1943), 1002–37 B. Brunelli , ed.: P. Metastasio: Tutte le opere (Milan, 1943–54) C. Varese : Saggio sul Metastasio (Florence, 1950) [esp. appx, ‘La regia dal dramma Metastasiano’, 103–12] T. Cole and H. Krich Chinoy eds.: Directing the Play: a Sourcebook of Stagecraft (Indianapolis, in , 1953, 2/1963, as Directors on Directing: a Sourcebook of the Modern Theater, with an Illustrated History of Directing ) [incl. H. Krich Chinoy : ‘The Emergence of


John Tyrrell

small circus is announced with a brief, colourfully orchestrated march (trumpet, piccolo, percussion). In his opening patter the Circus Master describes his troupe: the dancer Esmeralda, an ‘Indian’ and, their greatest attraction, an American bear who will perform a can-can with Esmeralda. Their wares are further displayed in the brilliant skočná (a fast 2/4 folkdance). But there is a crisis: the Indian announces to the Circus Master that the ‘bear’ has got too drunk to appear. They need a substitute and come upon Vašek, seen admiring Esmeralda’s legs. Esmeralda begins


Hugo Cole

secondary schools; works as diverse as Gluck’s Alceste and My Fair Lady have been performed with enthusiasm and understanding, while Weill’s Threepenny Opera is more popular in English and American schools than Der Jasager. Children’s operas do not transpose readily from one environment to another. Even Copland’s brilliant and individual The Second Hurricane is so American in spirit and in the language of its libretto as to be almost unperformable in Britain, though Jonathan Elkus is among those who have had success on both sides of the Atlantic. Yet the composers


Nicholas Temperley

French operas; after 1790 Germany too became a prime source. Exotic settings and characters also became as popular as aggressively British ones. Harems appeared as early as 1758 in Arne’s Sultan , a negro in Dibdin’s The Padlock ( 1768 ), West Indians in Arnold’s Inkle and Yarico ( 1787 ) and American Indians in Storace’s The Cherokee ( 1794 ). The same composer’s Haunted Tower ( 1789 ) brought Gothic horror, complete with ghost, to the English stage, along with a clearly Mozartian idiom. In 1802 melodrama was added to the growing multiplicity of genres


Jessica Payette

reflect her intensive study of Indian classical music and dance, especially Bharata Natyam dance–drama. During this time she studied and worked with Swati Bhise’s dance company, performing as Nattuvanar (vocalist/rhythmic reciter). These idioms imaginatively enrich Shield’s large-scale vocal works. Apocalypse ( 1994 ), an electronic opera for live and recorded singers, is unique for its combination of standard operatic dramaturgy with a multilingual libretto, electronic “chorus” and accompaniment, and Indian rhythmic structures. Indian ragas are juxtaposed with Nancy


Elise Kirk

Kondorossy, after Kemeny), Little, 21 Oct 1956 The Fox (1, Hall, after K. Mikszath), 28 Jan 1961 Nathan the Wise (poetic drama, 3, Hall), Sunbeam School for Crippled Children, 1964 The Poorest Suitor (children’s op, 1, Hall, after a Blackfoot Indian tale), Sunbeam School for Crippled Children, 24 May 1967 Shizuka’s Dance (children’s op, 1, Hall, after a tale of Prince Bantam), Sunbeam School for Crippled Children, 22 April 1969 Kalamona and the Four Winds (children’s op, 1, Hall, after a Hungarian fairy-tale), WSRS, 12 Sept 1971, vs (Cleveland, 1972) Ruth and