By Judy L. Hasday
История из серии (Женщины в искусстве) Агнес де Милль , очарованная талантом Анны Павловой,решила стать балериной.Awestruck by means of a functionality of the nice Anna Pavlova, Agnes de Mille resolved to develop into a dancer. different individuals of her relations have been verified within the theater -- her father a revered playwright, her uncle a legend in movie. however the de Mille identify, notwithstanding striking, was once dead on the earth of dance. whilst she ultimately did commence classes in ballet, she came upon she used to be older than the others and lacked a ballerinas determine. yet she endured, crossing the globe for fourteen years to gain her dream. whilst her step forward got here ultimately, it used to be via choreography. She mixed classical ballet with American folks tradition within the ground-breaking Rodeo. With the luck of Rodeo, de Mille grew to become the queen of Broadway, choreographing such hits as Oklahoma!, Carousel, Brigadoon, and gents favor Blondes. She is venerated for her paintings as a progressive choreographer and a performers recommend. i would like one observe on my tombstone, she as soon as acknowledged -- dancer.
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Extra resources for Agnes de Mille (Women in the Arts Series)серия :Women in the Arts
Like those at the Horace Mann School, classes were held outside, but in a garden area instead of on the roof of the school. , who would later become successful motion picture stars, and Edith and Irene Mayer, daughters of soonto-be-famous studio mogul Louis B. Mayer. The motion picture studio, a converted stable on Vine Street, looked out of place amid the beautiful pepper trees whose feathery palm leaves hung down on either side of the street. Uncle Cecil’s “studio” was a dull, dark green, wooden building stained with the residue of the pepper tree bark.
Agnes marveled at the grace, sophistication, and style of the women, and the dapper, smartly dressed men who called on her father and mother. 37 38 AGNES DE MILLE In 1914, when her father’s brother, Cecil, shifted away from his fluctuating writing and acting career, nine-year-old Agnes could not have foreseen the routine of her life coming to an end—the end of summers at Merriewold and winters in New York City with guests coming and going in a rhythmic flow to and from her house. Though the motion picture industry was in its infancy—films were only seven or eight minutes long— Cecil and two friends, Jesse Lasky and Samuel Goldfish (later changed to Goldwyn), pooled their talents to attempt to produce the first full-length feature film.
Neither did she have the high, tight instep and wide stretch in her Achilles tendon, the most important tendon in a dancer’s body. It is the Achilles tendon that provides the spring when a dancer pushes off when executing a jump and cushions the blow when the foot lands. The shortcomings of Agnes’s physical makeup were more than compensated by an incredible endurance. Still, at fourteen, it was little consolation. Her parents’ restrictions made things even more difficult. They limited Agnes to one private lesson of forty-five minutes and one hour-long class lesson a week, while the rest of the students attended every day and practiced together.