If the ideal artistic collaboration is one of shared vision, open communication, and exquisite professionalism then Martha Graham and Carlos Chávez strayed far from it in the making of Dark Meadow (1946). As this article documents, their relationship was full of antagonism, misunderstanding, disdainful gossip, and regret on both sides. Three sources of conflict are examined: 1) a misunderstanding between the two collaborators on the meaning and utility of Greek allusions in art created conflicting aesthetic expectations for a dance with a plot derived from Greek mythology; 2) both artists defied the modernist community's expectations about how each of them should perform their gender identity as artists; and 3) similarly, the press's consistent Othering of Chávez in racist, nationalist terms was contagious, influencing Graham's beliefs about what Mexican music could or should be. Despite significant obstacles, Chávez and Graham produced a work that continues to represent the mid-century Modernist aesthetic.

中文翻译：

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玛莎·格雷厄姆和卡洛斯·查韦斯的《黑暗草甸》中的身份与新古典主义理想

如果理想的艺术合作是共同的愿景、开放的沟通和精湛的专业精神，那么玛莎·格雷厄姆和卡洛斯·查韦斯在制作黑暗的草甸（1946 年）。正如本文所记录的那样，他们的关系充满了对立、误解、不屑的流言蜚语和双方的遗憾。研究了三个冲突来源：1）两位合作者之间对希腊艺术典故的意义和效用的误解造成了对源自希腊神话情节的舞蹈的相互冲突的审美期望；2) 两位艺术家都违背了现代主义社区对他们每个人应该如何表现自己作为艺术家的性别认同的期望；3) 同样，媒体在种族主义、民族主义的术语中一贯对查韦斯的他者化具有传染性，影响了格雷厄姆对墨西哥音乐可以或应该是什么的信念。尽管存在重大障碍，查韦斯和格雷厄姆创作了一部继续代表中世纪现代主义美学的作品。