By Joseph Horowitz
A long time of conflict and revolution in Europe pressured an "intellectual migration" over the past century, moving hundreds of thousands of artists and thinkers to the U.S.. for plenty of of Europe's most well known acting artists, the United States proved to be a vacation spot either unusual and opportune. that includes the tales of George Balanchine, Kurt Weill, Fritz Lang, Billy Wilder, Greta Garbo, Marlene Dietrich, and so on, Artists in Exile explores the effect that those recognized novices had on American tradition, and that the United States had on them.
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Many years of conflict and revolution in Europe pressured an "intellectual migration" over the last century, moving millions of artists and thinkers to the USA. for plenty of of Europe's most efficient appearing artists, the US proved to be a vacation spot either unusual and opportune. that includes the tales of George Balanchine, Kurt Weill, Fritz Lang, Billy Wilder, Greta Garbo, Marlene Dietrich, and so forth, Artists in Exile explores the effect that those recognized rookies had on American tradition, and that the US had on them.
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Freud argues that the "joke-work" is in detail on the topic of the "dream-work" which he had analyzed intimately in his Interpretation of desires, and that jokes (like all varieties of humor) attest to the elemental orderliness of the human brain. whereas during this publication Freud tells a few reliable tales along with his established verve and economic climate, its aspect is thoroughly critical.
Additional info for Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts
Unthinkable, as well, would have been American musical parodies of Bach or Beethoven, Debussy or Stravinsky. But Balanchine could not resist spooﬁng ballet. He did it in On Your Toes with a burlesque Scheherazade. He did it for the HOW TO BECOME AN AMERICAN 43 Barnum and Bailey Circus with a polka for elephants in tutus (to music by Stravinsky). He did it in The Goldwyn Follies with his Romeo and Juliet send-up. The same ﬁ lm’s over-the-top water ballet, in which Vera Zorina emerges drenched from a circular pool of water, was the apparent inspiration for the Dance of the Hours in Disney’s Fantasia, where the emerging aqua-ballerina is a hippopotamus.
46 ARTISTS IN EXILE And the Stravinsky story is shadowed by concomitant issues of personal identity. Balanchine, who took four wives and permitted no offspring, was a transatlantic explorer whose psychological rudder was at all times improbably steady. There are few stories of Balanchine aroused to anger. ”22 But Stravinsky’s lesions showed. ” In later life, his estrangement from his children became embarrassingly public. His elusive nationality signiﬁed both adaptability and ambiguity. ” asked a 1928 Berlin headline.
I remember how I burst into laughter at Stravinsky’s reply when I once asked him whether he found any amusement in Hollywood parties given by acquaintances in the ﬁ lm world. ” Horgan also offered this memorable glimpse of how it felt to be in the great man’s company: To be with him was to be conscious that one was within the ﬁeld of energy of genius, even during its lapses into restful triviality. I think at times he may have found my company somewhat trying, for the tone of my response to him; for in his presence I often found it difﬁcult to release to its fullest, for whatever that was worth, my own intrinsic personality—and it would be just that sort of release which would have engaged him most in anyone.
Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts by Joseph Horowitz