By Diana Theodores

First released in 1997. Routledge is an imprint of Taylor & Francis, an informa corporation.

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341. 26 Ibid. Under the Influence 21 of it clearly helped to establish this critical precedent for the New York School. Musicals, "ethnic" dance, the early modern movement and the changing face of ballet from Russian dominated classical style to a new era of American themes, style and identity surely presented a critical challenge of the highest order. The American ballet pioneering spirit, informed by the Diaghilev tradition and the Russian teachers who flocked to America at the end of the company's era in 1929, shaped itself into both an American classicism and a philosophy of experimentation.

In a second viewing of Balanchine' s "Apollon" he draws us into the very activity of his seeing and shares with us, almost in a re-creative account, his discoveries about Balanchine' s choreography that so thrill him. " ...... " ... " ...... " .... 67 For each question, really asking the reader to see what he sees, Denby illustrates the motive of the question and its answer in physical facts and poetic imagery. " 68 66 Ibid, p. 283. 67 Edwin Denby, Modern Music, Vol. 3, March/ April, 1938, pp. 184-85.

Dancers: Miranda Weese, Damian Woetzel. © The George Balanchine Trust. Photograph by COSTAS. 38 First We Take Manhattan Later, in the same book, in the section called "Balanchine's America," Siegel comments on the ballet Agon that: The dancers, stripped to their most minimal practice clothes, come before us in a mode for moving .... Perhaps it isn't too much to suggest a relationship between these confident, unadorned bodies of Balanchine's and the sense Americans have of being at ease in space.

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