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Dancing in the Dark with Fred, George, and Gene
Dance Chronicle Pub Date : 2019-01-02 , DOI: 10.1080/01472526.2019.1576462
George Dorris

There has been dance on film since the earliest days when a sneeze, a kiss, or a girl kicking her skirt and turning were sufficient to draw viewers. D. W. Griffith’s young heroines often engaged in impromptu dances, and a slinky dance made a femme fatale even more dangerous. It got more complicated when Irene and Vernon Castle twirled across the screen and Denishawn dancers writhed before Belshazzar. In the 1920s, Valentino’s tango raised temperatures, as did Clara Bow’s Charleston. But the big difference came at the end of the decade as sound on film replaced the orchestra or pianist, and the movies finally offered dancers their own music, whether in studio showcases or Hollywood versions of Broadway hits. But a rush of often indifferent film musicals soon soured the market until in 1933 Warner Brothers reenergized the genre with 42 Street and the Gold Diggers series, featuring Busby Berkeley production numbers that still astonish with their visual inventiveness. Yet, while employing squads of dancers and singers, choreography as such frequently took second, or even third, place to sheer spectacle and individual dancers got lost. Although the aerial finale of Flying Down to Rio that same year used film to create effects impossible on the stage, it also brought together Fred Astaire and Ginger Rogers, whose duet in the elaborate Carioca number stole the show from its intended stars. By taking control of how his dances were filmed, Astaire changed the way dances were seen on screen. Rather than showing them from a variety of angles or, as with Berkeley, assembling individual strips of film into a dance fantasy impossible on any stage, Astaire insisted, with few exceptions, on the dancer being shown full figure and the dance’s integrity being maintained throughout, with cuts as few

中文翻译:

与 Fred、George 和 Gene 在黑暗中跳舞

从最初的时候,一个喷嚏、一个吻或一个女孩踢她的裙子和转身就足以吸引观众,电影中就有舞蹈。DW Griffith 笔下的年轻女主人公经常跳即兴舞蹈,而纤细的舞姿让蛇蝎美人更加危险。当艾琳和弗农城堡在屏幕上旋转,丹尼肖恩舞者在伯沙撒面前扭动时,情况变得更加复杂。在 1920 年代,Valentino 的探戈和克拉拉·鲍 (Clara Bow) 的查尔斯顿 (Charleston) 一样使气温升高。但是,随着电影声音取代了管弦乐队或钢琴家,电影最终为舞者提供了自己的音乐,无论是在演播室展示还是好莱坞版的百老汇热门歌曲,巨大的差异发生在这十年的末期。但是,一大批经常冷漠的电影音乐剧很快就让市场感到厌烦,直到 1933 年,华纳兄弟通过 42 街和淘金者系列重新激发了这一流派,其中巴斯比伯克利的制作数字仍然以其视觉创造力而令人惊讶。然而,虽然雇佣了一群舞者和歌手,但编舞经常排在第二甚至第三位,让纯粹的奇观和个人舞者迷失了方向。尽管同年的《飞向里约》的空中结局使用电影来创造舞台上不可能的效果,但它也将弗雷德·阿斯泰尔和金杰·罗杰斯聚集在一起,他们在精心制作的卡里奥卡号中的二重唱从预定的明星那里偷走了节目。通过控制他的舞蹈的拍摄方式,阿斯泰尔改变了在屏幕上看到舞蹈的方式。而不是从各种角度展示它们,或者,
更新日期:2019-01-02
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