Deaths and Entrances (ballet)

Deaths and Entrances is a ballet choreographed by Martha Graham performed to music by Hunter Johnson. Arch Lauterer created the original set; Edythe Gilfond designed the costumes.[1] The ballet was well-received from the first performance despite being labeled as one of Graham's most personal, least accessible works.[2] Oscar de la Renta created new costumes for the ballet's 2005 revival.[3] The piece premiered on July 18, 1943, at Bennington College in Bennington, Vermont.[4] The first performance was an informal preview for which the dancers wore practice clothes although the set was in place.[1]

Title, theme and structure

Deaths and Entrances is staged for ten dancers, six women and four men.[5] The piece takes its title from the Dylan Thomas poem of the same name, a dark reflection on human suffering and grief. The story is inspired by the lives of the "doom-eager"[6] Brontë sisters: Emily, Charlotte and Anne and the women's struggle for self-fulfillment within the era's limitations of convention and tradition.[7] Some viewers also interpret the ballet as the tale of a love triangle, perhaps the one at the heart of Wuthering Heights, or one involving Emily or Graham.[2]

The account of repressed passions takes place in the gloomy interior of an ancient house.[8] Each sister has a set of signature movements specific to her character.[9] Two rival suitors, The Dark Beloved and The Poetic Beloved, enter and leave the scene, stone-faced and inscrutable even as they fist fight. The male characters might also be seen as two sides of one man. The Three Remembered Children, younger versions of the Brontë sisters or perhaps characters representing Graham and her two sisters,[10] skip in and out of the action. Scenes of a chess match, Graham's metaphor for existential life and death, are woven throughout the dance.[9] Emily offers herself to The Dark Beloved, but rejects him when he tries to dominate her. In a violent, convulsive solo passage, she teeters on the brink of madness. In the end, she is able to compose herself and win, or perhaps destroy, the game.[11] Props weighted with symbolism, a transparent goblet, a pair of phallus-like chess pieces and a large conch shell, are moved about the scene with "an air of mystic ritual."[12]

Original cast and reception

The original cast members were:

Although it was well-received from its debut, Deaths and Entrances initially baffled both audiences and critics. The New York Times' John Martin, who had closely followed Graham's career[13] wrote, "At first seeing, it is perfectly safe to say that not a single spectator can honestly report that he knows what the work is all about," but added "he must acknowledge that it is gripping and emotionally moving."[14]

Performance history

Deaths and Entrances is frequently performed by the Martha Graham Dance Company. It was reprised in 1970 with Mary Hinkson in the Graham role, in 1974 through 1977 with Phyllis Gutelius in the Central Role, in 1993 with Terese Capucilli and in 2005 and 2013 with Miki Orihara as the lead character.

gollark: ...
gollark: osmarks.tk has full UTF-8 capability, fortunately.
gollark: It's just so ææææææ.
gollark: If it wasn't for people needing to use different languages I would NOT support Unicode.
gollark: I have to admit I kind of agree?

References
  1. John Martin, The Dance: Summer Affairs, The New York Times, July 18, 1943 http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200153398/pageturner.html
  2. Tobi Tobias, A Shot in the Dark, Dance, New York Magazine, October 25, 1993, p. 91
  3. Tobi Tobias, Keeping Graham Going, Seeing Things, ArtsJournal, April 10, 2005, http://www.artsjournal.com/tobias/2005/04/keeping_graham_going.html.
  4. Deaths and Entrances (Ballet choreographed by Martha Graham), Performing Arts Encyclopedia, Library of Congress http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200182836/default.html
  5. Edwin Denby, The Ballet, New York Herald Tribune, December 27, 1943 http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200153434/pageturner.html
  6. Melody Bunger, Martha Graham Proves Methods Not Outdated, The Day, New London, Connecticut, July 22, 1970
  7. Martha Graham Dance Company Repertory, Martha Graham Dance Company http://marthagraham.org/press-presenters2/repertory/
  8. What's in a Word, Christian Science Monitor, Boston, Massachusetts, August, 1943 http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200153407/pageturner.html
  9. Anna Kisselgoff, Dance View: A 1940s Enigma Retains Its Mystery, The New York Times, March 25, 1984 https://www.nytimes.com/1984/03/25/arts/dance-view-a-1940-s-enigma-retains-its-mystery.html
  10. Russell Freedman, Martha Graham: A Dancer's Life, Houghton Mifflin Harcourt, 1998, p. 98
  11. Stuart Hodes, Part Real, part Dream: Dancing with Martha Graham, Concord ePress, 3rd edition, location 9114
  12. Margaret Lloyd, Such Stuff as Dreams Are Made On, Christian Science Monitor, January 15, 1944 http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200153449/pageturner.html
  13. Jennifer Dunning, A Martha Graham Enigma for a New Generation, Dance, The New York Times, April 3, 2005 https://www.nytimes.com/2005/04/03/arts/dance/a-martha-graham-enigma-for-a-new-generation.html?mtrref=www.nytimes.com
  14. John Martin, The Dance: Second View, On Re-Seeing Martha Graham’s Recent “Deaths and Entrances”, The New York Times, January 16, 1944 http://memory.loc.gov/diglib/ihas/loc.natlib.ihas.200153447/pageturner.html
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.