George Balanchine was invited to the US in 1933 by Lincoln Kirstein, a young, wealthy patron of the arts. Complete the following: 1. Write a brief 15-20 sentence paragraph biography of Balanchine. 2. In the 2nd 8-12 sentence paragraph, discuss the impact & importance of George Balanchine in the history if ballet in the United States from 1933 until his death in 1983.

Answer:

The young American arts patron Lincoln Kirstein (1907-1996), raised in Boston and a graduate of Harvard University, harbored a dream: To establish a ballet company in America, filled with American dancers and not dependent on repertory from Europe. Through Romola Nijinsky, whom Kirstein had assisted in writing a biography of her husband, he met Balanchine after a Les Ballets 1933 performance and outlined his vision. Balanchine was essential to it. Deciding quicky in favor of a new start, Balanchine agreed to come to the United States and arrived in New York in October 1933. "But first, a school," he is famously reported to have said.

Kirstein was prepared to support the idea, and the first product of their collaboration was indeed a school, the School of American Ballet, founded in 1934 with the assistance of Edward M.M. Warburg, a Harvard colleague. (The first classes were held January 2.) The School remains in operation to this day, training dancers for the New York City Ballet and companies worldwide. The first ballet Balanchine choreographed in America--Serenade, to Tschaikovsky--was created for students of the School and had its world premiere outdoors at Warburg's summer home near White Plains, New York, in 1934. Within a year, Balanchine and Kirstein had created a professional company, the American Ballet, which made its debut at the Adelphi Theater, New York City, in March 1935. After a handful of summer performances, a projected tour collapsed, but the troupe remained together as the resident ballet company at the Metropolitan Opera. However, Balanchine had no interest in choreographing opera dances, and the Met had little interest in furthering the cause of ballet; in the American Ballet's three years at the Met, Balanchine was allowed just two all-dance programs. In 1936, he mounted a dance-drama version of Gluck's Orfeo and Eurydice, controversial in that the singers were relegated to the pit while the dancers claimed the stage. The second program, in 1937, was, prophetically, devoted to Stravinsky: a revival of Apollo plus two new works, Le Baiser de la Fée and Card Game. It was the first of three festivals Balanchine devoted to Stravinsky over the years.

The fifty-year collaboration of these two creative giants is unique in the 20th century. Stravinsky's description of their work together on Balustrade in 1940 is implicitly a description of their shared vision. He wrote, "Balanchine composed the choreography as he listened to my recording, and I could actually observe him conceiving gestures, movement, combinations, and composition. The result was a series of dialogues perfectly complementary to and coordinated with the dialogues of the music." (In 1972, Balanchine choreographed a new ballet to the same score, Stravinsky Violin Concerto.)

The American Ballet's association with the Met came to an end in 1938 and Balanchine took several of his dancers to Hollywood. In 1941, he and Kirstein assembled another classical company, American Ballet Caravan, for a five-month good-will tour of South America. In the repertory were two major new Balanchine works, Concerto Barocco and Ballet Imperial (later renamed Tschaikovsky Piano Concerto No. 2). But after the tour this company, too, disbanded, and the dancers were forced to find work elsewhere. Between 1944 and 1946 Balanchine was engaged to revitalize Sergei Denham's Ballet Russe de Monte Carlo after the departure of Massine. There he choreographed Danses Concertantes (1944), Raymonda, and Night Shadow (later called La Sonnambula, both in 1946), while reviving Concerto Barocco, Le Baiser de la Fée, Serenade, Ballet Imperial, and Card Party (renamed Jeu de Cartes). Many of Balanchine's most important early works were introduced to America at large by the Ballet Russe, which toured the length and breadth of the country for nine months of the year.

Explanation:

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(2 points)
Keeping line thickness the same throughout the drawing
Varying line thickness throughout the drawing
Keeping line value the same throughout the drawing
Varying line value throughout the drawing

2. Why would an artist want to vary the line weight in a drawing? (1 point)
To control the color of the line
To create crisp analytical lines
To make implied lines stronger
To make the drawing more interesting

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Depth
Form
Outline
Shadow
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Depth
Form
Outline
Shadow
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Contour
Depth
Outline
Shadow

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The line between the child and the mother
The line between the mother and viewer
The outline of the child's face
The outline of the mother's face
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The line between the man's head and the woman's head
The line between the man and the viewer
The line between the man's feet and the woman
The line between the woman and the viewer

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To the barn
To the chickens
To the rifle
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The eye of the viewer follows the direction made by the artist's hand.
The eye of the viewer follows random directions from one object in the work to another.
The eye of the viewer starts at the top of any work and follows a clockwise path.
The eye of the viewer starts at the top of any work and follows a counter-clockwise path.

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Analytic
Contour
Expressive
Implied

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