Balanchine Case

Balanchine began spreading his new world of dance after he spent about ten years in Europe with the Ballets Russes. In 1933 he was invited to start a new company in America with Lincoln Kirstein. Before he began Balanchine's company he insisted on starting a school to begin with. This school would allow him to train his dancers so that they would be able to endure the athleticism of his choreography. Balanchine discarded a few important rules of his original training and added more room for expression and freedom in the dancers' movement. This freedom of movement reflected his idea of America and his rebellion against what Russia was becoming. The new technique was still based on the Vaganova style, it was just slightly changed to create longer lines and to highlight the certain aesthetics of body, but the movements were still meant to be very concise just not as rigid as the Russian technique.

He used his new technique to enhance the performance of quick paced steps, confusing musicality, intricate patterns and the ability to show off the beauty of the dancers bodies, which are characteristics that are well identifiable in his work. But what he is most prominently known for is the immense contrast between his choreography and the slow and sweet works created in Russia by choreographers such as Marius Petipa. Balanchine's works are largely based on the music he choreographs to and the aesthetics of the body that he shows off. A lot of his plot-less ballets are presented in plain costumes, such as a black leotard and pink tights, with simple sets, which may include a staircase or just a simple blue backdrop. His movements and ideas are much more abstract and the choreography and sequence of steps is much more complicated than what is seen in classical Russian Ballets. The Russian ballets are profusely adorned with jewels and fabric with intricate set designs meant to astound the audience only to the eye and make them feel like royalty. Watching a beautiful classical ballet would leave the audience with sparkles in their eyes until the curtain descends, but Balanchine's intricately woven ballets leaves the audience astounded and dumbfounded, with the after-affect of the complicated steps and music resonating within them to their very core.

Graham's work is also very simplistic, "like Balanchine, Graham avoids any realistic portrayal of the story" (25), and her choreography is emphasized by the music just like Balanchine's works. Louis Horst, a composer, musician, and friend that Graham met at Denishawn, was the one who gave Graham the shove she need for her to begin her company. He said specifically, " there are new things happening, and you've got to start now. You've got to start breaking away from Denishawn" (Freedman 42). She immediately started her own dance company in New York and began to choreograph. Her choreography was more about expressing deep emotions and