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Networks of Performance and Patronag...

Witt, Alexis L.

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Networks of Performance and Patronage: Russian Artists in American Dance, Vaudeville, and Opera, 1909-1947.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Networks of Performance and Patronage: Russian Artists in American Dance, Vaudeville, and Opera, 1909-1947./
Author:	Witt, Alexis L.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	377 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-06, Section: A.
Contained By:	Dissertations Abstracts International80-06A.
Subject:	Music history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13423306
ISBN:	9780438754737

Networks of Performance and Patronage: Russian Artists in American Dance, Vaudeville, and Opera, 1909-1947.
Witt, Alexis L.

Networks of Performance and Patronage: Russian Artists in American Dance, Vaudeville, and Opera, 1909-1947. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 377 p.

Source: Dissertations Abstracts International, Volume: 80-06, Section: A.

Thesis (Ph.D.)--Indiana University, 2018.

This item must not be sold to any third party vendors.

A steady stream of Russian performers of ballet, vaudeville, and opera arrived in the United States during the first half of the twentieth century. Included among these performers were some of the most illustrious artists out of Russia, many of whom were primarily performing abroad, such as operatic bass Feodor Chaliapin, the Chauve-Souris vaudeville troupe, various incarnations of the Ballets Russes, and ballerina Anna Pavlova. Major cities such as New York City and Chicago served as centralized locations in which these artists would stage performances and establish schools; however, they also engaged in expansive cross-country performance tours that brought their art to a wide variety of American audiences and spurred interest in Russian dance, music, and the visual arts, much of which was new and exciting to American audiences at this time. These Russian artists were supported in their endeavors by the efforts of Russian-born impresarios active in the United States and by American patrons of the arts, and the extent to which the performers were successful in their American appearances was largely dependent upon the strength of their relationships with such managers and benefactors. Additionally, Russian performers in the United States were forming relationships (artistic, educational, and social) with their American counterparts. Although Russian dancers and singers were often treated as exotic novelties during the 1910s and 1920s, the nature of their reception changed as they became more commonplace and integrated into the American cultural landscape. Such integration was only possible through the myriad relationships that Russian artists cultivated with their American contemporaries, managers, and patrons, and such relationships would ultimately define and drive American artistic trends, most notably in the development of an American style of ballet.

ISBN: 9780438754737Subjects--Topical Terms:

3342382
Music history.

Networks of Performance and Patronage: Russian Artists in American Dance, Vaudeville, and Opera, 1909-1947.
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520 $a A steady stream of Russian performers of ballet, vaudeville, and opera arrived in the United States during the first half of the twentieth century. Included among these performers were some of the most illustrious artists out of Russia, many of whom were primarily performing abroad, such as operatic bass Feodor Chaliapin, the Chauve-Souris vaudeville troupe, various incarnations of the Ballets Russes, and ballerina Anna Pavlova. Major cities such as New York City and Chicago served as centralized locations in which these artists would stage performances and establish schools; however, they also engaged in expansive cross-country performance tours that brought their art to a wide variety of American audiences and spurred interest in Russian dance, music, and the visual arts, much of which was new and exciting to American audiences at this time. These Russian artists were supported in their endeavors by the efforts of Russian-born impresarios active in the United States and by American patrons of the arts, and the extent to which the performers were successful in their American appearances was largely dependent upon the strength of their relationships with such managers and benefactors. Additionally, Russian performers in the United States were forming relationships (artistic, educational, and social) with their American counterparts. Although Russian dancers and singers were often treated as exotic novelties during the 1910s and 1920s, the nature of their reception changed as they became more commonplace and integrated into the American cultural landscape. Such integration was only possible through the myriad relationships that Russian artists cultivated with their American contemporaries, managers, and patrons, and such relationships would ultimately define and drive American artistic trends, most notably in the development of an American style of ballet.
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