170:, "Miss Graham's previous attempt at an extended choreographic work with historical and sociological implications" and pointed "the way to brilliant future accomplishments" but did not fully succeed. "Many of the ideas are expressed at too great a length, and the suite, which requires about one and a quarter hours in the unfolding, would profit greatly by radical pruning." From the "aspects of design and motion," however, "Miss Graham and her group accomplish much that is remarkable. Considered merely as controlled, directed energy their efforts were amazing."
250:. It references the plight of individuals suffering through hunger, poverty. and civil and labor unrest and presents a nihilistic view of war's destructiveness and isolating effects. Although the work does not employ sets, the sculptural lighting design enhances the geometric choreography. The twelve dancers' movements are stark, angular and percussive. They dance in groups, but never really together.
110:, a long ensemble piece, suggests a mass of unwanted individuals, such as a group of the unemployed or homeless. The dancers shuffle dejectedly, occasionally rallying to execute rebellious gestures, and then return to their resigned trudging. Carrying a black flag, the soloist then leads the ensemble in a service of commemoration (
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which is obviously a fragment but a major fragment, provides the answer. Its form is completely abstract: the choreography is focused on one woman...who was constantly bypassed by lines of 12 other women in black..." She also noted that although the piece was made during a specific historical era, it
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wrote that Graham "not only made revisions in its choreography and costuming, but actually managed to alter its general direction and manner of functioning." Where the original dance was well made, Martin noted, it "projected no passion, irradiated no warmth." In its "second incarnation" the critic
45:. Riegger's music was scored for piano, wind instruments and percussion; Noguchi's set was made up primarily of curtains, platforms and stairs. The original production was danced by Martha Graham and Group, the forerunner of the
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is a prelude to the action that follows. The dancer moves with stiff, robotic gestures in response to off-stage drums and trumpet, an embodiment, perhaps, of the inevitability of marching off to war. In the subsequent section
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The set and score were also praised. The set for its simplicity. The "plangent, percussive" score for its "composition, understanding of the text" and "excellent foreshadowing of the choreography."
49:. According to the program notes, the dance is based upon "the advent and consequences of war" and concerned itself with the "contemporary situation", referring to the impending conflict in Europe.
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dance critic agreed. "Seemingly picking up contrapuntal elements in
Riegger’s score, the choreography conveys the desperation of the masses, the pain of isolation, the loneliness of despair."
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has broader implications. "Miss Graham was dealing here with the aftermath of war but also with the loneliness that can well up in everyone, especially those alienated from society."
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noted, "I found it deeply moving…and only seldom disappointing...The technical performance of this work, by both Miss Graham and the group, leaves you gasping." The critic for
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s reporter wrote, "It is an ambitious undertaking, a composition on a grand scale, making enormous demands on both the soloist and her group," while the critic for
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as having "great power" and containing "under their surface of defeat and suffering the most eloquent indications of protest and rebellion."
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At the time, Graham's all-female troupe consisted of Anita
Alvarez, Thelma Babbitz, Bonnie Bird, Dorothy Bird, Ethel Butler, Aza Ceskin,
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is more than an hour in length and chronicles the time frame from 1914 to 1936. It is divided into three major sections:
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was recreated in 1988. It is part of the current Martha Graham Dance
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428:"Martha Graham and Dance Group, Guild Theatre, December 20, 1936 (concert program)"
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Graham reworked the ballet extensively between the first and second performances.
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535:"Martha Graham Dance Company Student Matinee and Residency (booklet)"
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Barnes, Clive (October 10, 1989). "Stirring 'Steps' Into the Past".
242:, the dance is a portrait of the human condition born out of the
88:. Each section has been performed as an independent work.
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described the opening solo as "ominous and gripping",
319:"Chronicle (Ballet choreographed by Martha Graham)"
432:Performing Arts Encyclopedia, Library of Congress
323:Performing Arts Encyclopedia, Library of Congress
544:. Virginia Arts Festival 2005. Archived from
253:Reviews of the re-staged work were positive.
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458:"Suite Features Martha Graham Dance Program"
33:. It premiered on December 20, 1936, at the
118:depicts a call for "a brave new world".
403:"Martha Graham Dance Company Repertory"
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230:In 1988, the Graham company recreated
628:Works set during the Great Depression
572:"Graham Explores Her Early Repertory"
456:Bohm, Jerome D. (December 21, 1936).
376:Kolodin, Irving (December 21, 1936).
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570:Kisselgoff, Anna (October 9, 1989).
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240:Devastation - Homelessness - Exile
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482:Martin, John (January 3, 1937).
378:"Martha Graham Offers New Dance"
289:"Martha Graham in Dance Recital"
246:and of Graham's response to the
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198:The Christian Science Monitor
542:Martha Graham Dance Company
462:The New York Herald Tribune
407:Martha Graham Dance Company
47:Martha Graham Dance Company
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112:Tragic Holiday-In Memoriam
82:Tragic Holiday-In Memoriam
41:. The set was designed by
344:"Martha Graham and Group"
213:' famous anti-war ballet
62:Dances Before Catastrophe
623:Ballets by Martha Graham
484:"The Dance: Miss Graham"
186:Dances After Catastrophe
158:Following the premiere,
74:Dances After Catastrophe
191:Of the revised version
84:; and a final section
25:work choreographed by
618:1936 ballet premieres
236:Steps in the Street
226:Steps in the Street
160:The New York Herald
108:Steps in the Street
90:Steps in the Street
78:Steps in the Street
31:Wallingford Riegger
576:The New York Times
488:The New York Times
293:The New York Times
255:The New York Times
176:The New York Times
154:Critical reception
150:and Mildred Wile.
598:The New York Post
267:The New York Post
248:Spanish Civil War
234:s middle section
162:critic described
116:Prelude to Action
95:The opening solo
86:Prelude to Action
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238:. Subtitled
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29:to music by
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581:18 February
555:18 February
519:12 February
510:"The Dance"
493:12 February
467:12 February
438:13 February
412:18 February
387:12 February
354:12 February
328:12 February
298:12 February
181:John Martin
128:Jane Dudley
612:Categories
514:New Masses
274:References
232:Chronicle'
211:Kurt Jooss
207:Chronicle
205:compared
179:reviewer
164:Chronicle
58:Chronicle
18:Chronicle
168:Panorama
53:Synopsis
259:Steps,
102:Masque
70:Masque
549:(PDF)
538:(PDF)
21:is a
583:2016
557:2016
521:2016
495:2016
469:2016
440:2016
414:2016
389:2016
356:2016
330:2016
300:2016
80:and
68:and
209:to
37:in
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