Word: kirstein
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...gaunt, Boston esthete and dance man, Lincoln Kirstein, decided that the U. S. needed home-grown ballet. Rich Balletomaniac Kirstein pooled funds with Edward M. M. Warburg (son of Banker Felix Warburg), got together a bevy of young U. S. ballet dancers, and hired famed Russian Dance Master George Balanchine to teach them. Impresarios Kirstein and Warburg started their venture as a school. But it soon grew into a fledgling ballet troupe, known as the American Ballet...
...American Ballet got a chance in 1935, when it was made the official ballet company at Manhattan's Metropolitan Opera House. The experiment did not work to suit anybody, and eventually Choreographer Balanchine huffed off to Hollywood. But Impresario Kirstein refused to give up. Picking the best members of the tottering American Ballet, he formed a little company of twelve dancers, got a bus for them to travel in, and in 1936 started them barnstorming as the Ballet Caravan...
...fancy-named Russian choreographers, did no classical Russian ballets. Its 20-year-old dancers concentrated on U. S. subjects, did their own staging, hired U. S. composers to write their music, added a distinct U. S. flavor to their classical leaps and entrechats. They were so successful that Impresario Kirstein soon began to lake expenses...
...followed with an operetta based upon Stephen Foster tunes, Susanna Don't You Cry, which, for all its musical charm and its flashy mounting by Robert Edmond Jones, had a plot which died of Southern molassitude. The Lyric Theatre next put on an evening of dancing by Lincoln Kirstein's Ballet Caravan-an uninspired Air and Variations to music by Bach; an arty cigar-store Indian Pocahontas (Elliott Carter Jr.); a rich, loamy piece of Americana, Billy the Kid (Aaron Copland...
...power of Evans' work," says Critic Lincoln Kirstein in an excited but penetrating commentary, "lies in the fact that he so details the effect of circumstances on familiar specimens that the single face, the single house, the single street, strikes with the strength of overwhelming numbers, the terrible cumulative force of thousands of faces, houses and streets." Photographer Evans himself likes some of his pictures because of their designed humor, others for a quality of care and sensitiveness poorly known as "poetry." Evans' ruined Southern mansion, for example, is no ordinary Southern mansion but one of exceptional, weathered...