1927 DENISHAWN Theater Ruth St Dennis TAD SHAWN Ticket DANCE Northampton SMITH C

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Seller: Top-Rated Plus Seller chestnuthillbooks (18,918) 100%, Location: New Bedford, Massachusetts, Ships to: Worldwide, Item: 352553702347 1927 DENNISHAWN TICKET FREE SHIPPING with delivery confirmation on all domestic purchases! Scarce original 1927 dance ticket, "Ruth St. Dennis and Tad Shawn; Dennishawn Dancers, John M. Greene Hall, Wednesday, March 30, 1927; Auspices Kiwanis Club, Benefit Community Chest, Price $2.00" Writing at reverse We ship worldwide! Please see all pictures and visit our eBay store and other eBay auctions! Ted Shawn (21 October 1891 – 9 January 1972), originally Edwin Myers Shawn, was one of the first notable male pioneers of American modern dance. Along with creating Denishawn with former wife Ruth St. Denis he is also responsible for the creation of the well known all-male company Ted Shawn and His Men Dancers. With his innovative ideas of masculine movement, he is one of the most influential choreographers and dancers of his day. He is also the founder and creator of Jacob's Pillow Dance Festival in Massachusetts, and "was knighted by the King of Denmark for his efforts on behalf of the Royal Danish Ballet".[1] Ted Shawn and the creation of Denishawn Ted Shawn with dancer and wife Ruth St. Denis in 1916. Ted Shawn and Ruth St. Denis in Egyptian Ballet, ca. 1910. Ted Shawn was born in Kansas City, Missouri on October 21, 1891.[2] Originally intending to become a minister of religion, he attended the University of Denver. While attending the University, he caught diphtheria at the age of 19 causing him temporary paralysis from the waist down. It was during his physical therapy for the disease that Shawn was first introduced to dance by way of studying with Hazel Wallack in 1910, a former dancer with the Metropolitan Opera. In 1912, Shawn relocated to Los Angeles where he became part of an exhibition ballroom dance troupe. It wasn't until moving to New York in 1914 that Shawn realized his true potential as an artist upon meeting Ruth St. Denis. The two were married within 2 months on August 13th, 1914. [3] St. Denis served not only as partner but an extremely valuable creative outlet to Shawn. Both artists believed strongly in the potential for dance as an art form becoming integrated into every day life. The combination of their mutual artistic vision as well as Shawn's business knowledge led to the couple opening the first Denishawn School in Los Angeles, California in 1915, with the goal being to meld dance together with the body, mind and spirit. Notable performances choreographed by him during Denishawn's 17-year run include Invocation to the Thunderbird" (1917), the solo Danse Americaine, performed by Charles Weidman (1923), Julnar of the Sea, Xochitl performed by Martha Graham (1920) and Les Mysteres Dionysiaques.[4] In addition to spawning the careers of Weidman and Graham, the Denishawn school also housed Doris Humphrey as a student. Style and technique Together, Shawn and Ruth St. Denis established an eclectic grouping of dance techniques including ballet (done without shoes), and movement that focused less on rigidity and more on the freeing of the upper body. To add to St. Denis' mainly eastern influence, Shawn brought the spirit of North African, Spanish, American and Amerindian influence to the table. Ted Shawn and His Men Dancers “ I believe that dance communicates man's deepest, highest and most truly spiritual thoughts and emotions far better than words, spoken or written. ” — attributed to Ted Shawn, in Outback and Beyond[5] Due to marital problems of Ruth St. Denis and Ted Shawn and financial difficulties, Denishawn concluded in the early 1930's. Consequently, Shawn went on to form an all-male dance company, made up of athletes he taught at Springfield College in Massachusetts. Shawn's mission in creating this company was to fight for acceptance of the American male dancer and to bring awareness of the art form from a male perspective.[citation needed] The all-male company was based out of a farm that Shawn purchased near his hometown Lee, Massachusetts. On July 14, 1933, Ted Shawn and His Men Dancers had their premier performance at Shawn's farm, which would later be known as Jacob's Pillow Dance Festival. Shawn produced some of his most innovate and controversial choreography to date with this company such as "Ponca Indian Dance", "Sinhalse Devil Dance", "Maori War Haka", "Hopi Indian Eagle Dance", "Dyak Spear Dances", and "Kinetic Molpai". Through these creative works Shawn showcased athletic and masculine movement that soon would gain popularity. The company performed in the United States and Canada, touring more than 750 cities, in addition to international success in London and Havana. Ted Shawn and His Men Dancers concluded at Jacob's Pillow on August 31, 1940 with a homecoming performance. During the years of the company, Shawn's love for the relationships created by the men in his dances soon translated into love between himself and one of his company members, Barton Mumaw (1912–2001), which lasted from 1931 to 1948. One of the leading stars of the company, Barton Mumaw would emerge onto the dance industry and be considered "the American Nijinsky." While with Shawn, Mumaw began a relationship with a John Christian, a stage manager for the company. Mumaw introduced Shawn to Christian. Later, Shawn formed a partnership with John Christian, with whom he stayed from 1949 until his death in 1972.[6] Jacob's Pillow Ted Shawn resting on the Jacob's Pillow Rock With this new company came the creation of Jacob's Pillow: a dance school, retreat, and theater. The facilities also hosted teas, which, over time, became the Jacob's Pillow Dance Festival.[7][8] Shawn also created The School of Dance for Men around this time, which helped promote male dance in colleges nationwide. Shawn taught classes at Jacob's Pillow just months before his death at the age of 80.[9] In 1965, Shawn was a Heritage Award recipient of the National Dance Association. Shawn's final appearance on stage in the Ted Shawn Theater at Jacob's Pillow was in Siddhas of the Upper Air, where he reunited with St. Denis for their fiftieth anniversary. Saratoga Springs is now the home of the National Museum of Dance, the United States' only museum dedicated to professional dance. Shawn was inducted into the museum's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1987. Writings Ted Shawn wrote and published nine books that provided a foundation for Modern Dance:[10] 1920 – Ruth St. Denis: Pioneer and Prophet 1926 – The American Ballet 1929 – Gods Who Dance 1935 – Fundamentals of a Dance Education 1940 – Dance We Must 1944 – How Beautiful Upon the Mountain 1954 – Every Little Movement: a Book About Francois Delsarte 1959 – Thirty-three Years of American Dance 1960 – One Thousand and One Night Stands (autobiography, with Gray Poole) Legacy In the 1940s, Shawn gifted his works to the Museum of Modern Art. The museum subsequently deaccessed these works, giving them to New York Public Library for the Performing Arts and Jacob's Pillow archive, while Shawn was still alive. Dancer Adam Weinert saw this as a violation of MoMA's policy not to sell or give away works by living artists, and created The Reaccession of Ted Shawn, digital, augmented reality performances of Shawn's works to be displayed in MoMA.[11][12] Ruth St. Denis (January 20, 1879 – July 21, 1968) was an American modern dance pioneer, introducing eastern ideas into the art. She was the co-founder of the American Denishawn School of Dance and the teacher of several notable performers. Ruth Denis was raised on a small farm in New Jersey, daughter of Ruth Emma Hull Denis (a physician by training), and Thomas Laban Denis, an inventor, where she studied both Christian Science and theosophy. As a child, she learned exercises based on François Delsarte's Society Gymnastics and Voice Culture.[1] This was the beginning of St. Denis's dance training, and was instrumental in developing her technique later in life. In 1894, after years of practicing Delsarte poses, she debuted as a skirt dancer for Worth's Family Theatre and Museum. From this modest start, she progressed to touring with an acclaimed producer and director, David Belasco, under whom her stage name, "St. Denis", was created. While touring in Belasco's production of Madame DuBarry in 1904 her life was changed. She was at a drugstore with another member of Belasco's company in Buffalo, New York, when she saw a poster advertising Egyptian Deities cigarettes. The poster portrayed the Egyptian goddess Isis enthroned in a temple; this image captivated St. Denis on the spot and inspired her to create dances that expressed the mysticism that the goddess's image conveyed. From then on, St. Denis was immersed in Oriental philosophies.[citation needed] In 1905, St. Denis left Belasco's company to begin her career as a solo artist. The first piece that resulted from her interest in the Orient was Radha performed in 1906. Drawing from Hindu mythology, Radha is the story of Krishna and his love for a mortal maid.Radha was originally performed to music from Léo Delibes' opera Lakmé. This piece was a celebration of the five senses and appealed to a contemporary fascination with the Orient. Although her choreography was not culturally accurate or authentic, it was expressive of the themes that St. Denis perceived in Oriental culture and highly entertaining to contemporary audiences. St. Denis believed dance to be a spiritual expression, and her choreography reflected this idea. Photographed by Otto Sarony, 1910. St. Denis began to investigate Asian dance after seeing an image of the Egyptian goddess Isis in a cigarette advertisement. She and her husband Ted Shawn were known for their "oriental" productions.[2] In 1911, a young dancer named Ted Shawn saw St. Denis perform in Denver; it was artistic love at first sight.[3] In 1914, Shawn applied to be her student, and soon became her artistic partner and husband. Together they founded Denishawn, the "cradle of American modern dance."[4] One of her more famous pupils was Martha Graham. Together St. Denis and Shawn founded the Los Angeles Denishawn school in 1915. Students studied ballet movements without shoes, ethnic and folk dances, Dalcroze Eurhythmics, and Delsarte gymnastics. In 1916 they created a collection of dances inspired by Egypt which included Tillers of the Soil, a duet between St. Denis and Shawn as well as Pyrrhic Dance, an all male dance piece.[5] Her exploration into the orient continued into 1923 when she staged Ishtar of the Seven Gates in which she portrayed a Babylonian goddess. Together St. Denis and Shawn toured throughout the 1910s and 1920s often performing their works on the vaudeville stage. Other notable dancers such as Doris Humphrey, Lillian Powell, Evan-Burrows Fontaine and Charles Weidman also studied at Denishawn. Graham, Humphrey, Weidman and the future silent film star Louise Brooks all performed as dancers with the Denishawn company. At Denishawn, St. Denis served as inspiration to her young students, while Shawn taught the technique classes. Ruth St. Denis and Ted Shawn were also instrumental in creating the legendary dance festival, Jacob's Pillow. Although Denishawn had crumbled by 1930, St. Denis continued to dance, teach and choreograph independently as well as in collaboration with other artists. St. Denis no longer redirected her works from the mysteries of the orient to combining religion and dance through her Rhythmic Choir of Dancers.[6] Through these works it is said that St. Denis sought to become the Virgin Mary in the same manner in which she once sought to become goddesses.[7] In 1938 St. Denis founded Adelphi University's dance program, one of the first dance departments in an American university. It has since become a cornerstone of Adelphi's Department of Performing Arts. She cofounded a second school in 1940, the School of Nataya which focused on teaching Oriental dance. For many years St. Denis taught dance at her studio, which was located at 3433 Cahuenga Boulevard West (near Universal City). On Sunday, September 16, 1962, she teamed with impresario Raymond D. Bowman to present a full-length Balanese shadow puppet performance (Wayang Kulit) at her studio, which lasted more than 8 hours. It was the first such performance in the United States. Death Ruth St. Denis died of a heart attack on July 21, 1968, aged 89, at Hollywood Presbyterian Hospital in Los Angeles. Legacy The legacy left behind included not only her repertory of orient-inspired dances, but also students of Denishawn who later became pivotal figures in the world of modern dance. Many companies currently include a collection of her signature solos in their repertoires, including the programme, "The Art of the Solo", a showcase of famous solos of modern dance pioneers. Several early St. Denis solos (including "Incense" and "The Legend of the Peacock") were presented on September 29, 2006, at the Baltimore Museum of Art. A centennial salute was scheduled with the revival premiere of St. Denis' "Radha", commissioned by Countess Anastasia Thamakis of Greece. The program's director, Mino Nicolas, has been instrumental in the revival of these key solos. St. Denis was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1987.[citation needed] The global organization and activity, the Dances of Universal Peace, credits Ruth St. Denis for much of the inspiration behind its creation.[8] The Dances of Universal Peace organization subsequently published many of St Denis' previously unpublished writings on spiritual dance and the mysticism of the body.[9] The Denishawn School of Dancing and Related Arts, founded in 1915 by Ruth St. Denis and Ted Shawn in Los Angeles, California, helped many perfect their dancing talents and became the first dance academy in the United States to produce a professional dance company.[1] Some of the school's more notable pupils include Martha Graham, Doris Humphrey, Lillian Powell, Charles Weidman, Jack Cole, and silent film star Louise Brooks. The school was especially renowned for its influence on ballet and experimental Modern dance. In time, Denishawn teachings reached another school location as well - Studio 61 at the Carnegie Hall Studios. Initially solo artists, Ruth St. Denis and Ted Shawn began collaborating on work in 1914. At the time, St. Denis was preparing for a tour of the southeastern region of the United States, and needed a male partner to help present new ballroom dances. Shawn, who had admired St. Denis since seeing her perform in 1911, auditioned for and was awarded the role. The resulting tour featured the partnered pieces along with individual works from St. Denis and Shawn respectively. Eventually, the working relationship between Shawn and St. Denis turned romantic. The two artists fell in love and, lovers living together being considered unorthodox at this point in history, were married on August 13, 1914. Denis, reticent about marriage, had the word "obey" deleted from their wedding vows and declined to wear a wedding ring.[2] Their "honeymoon" consisted of a second joint tour - accompanied by a small company of dancers - from Saratoga, New York to San Francisco, California. A new collection of dances, including more ballroom variations, St. Denis' solos and Shawn's famous Dagger Dance, was showcased. For promotional purposes, the dancing group was referred to as the St. Denis-Shawn Company. It was not until February 6, 1915, on yet another tour, that the term "Denishawn" actually surfaced. At a performance in Portland, Oregon, a theater manager promised eight box seats to whoever could dream up the most creative name for the latest St. Denis-Shawn ballroom exhibition. The unchallenged, winning title was "The Denishawn Rose Mazurka." While the name as a whole didn't warrant much popularity, the "Denishawn" portion attracted audience members and the press - to such an extent that the namesake couple chose to officially change their company name from the St. Denis-Shawn Company to Denishawn Dancers.[2] With this new name in town, Shawn and St. Denis began brainstorming ways to expand their contributions to the dance world. Shawn was the first to suggest opening a school - a dual-purpose institution that could be a successful source of income and in turn pass on the founders' ideas of new Modern dance. St. Denis and Shawn opened their Denishawn School in 1915, and together formulated a guide for both their pedagogy and choreography, an excerpt of which is quoted below: "The art of dance is too big to be encompassed by any one system. On the contrary, the dance includes all systems or schools of dance. Every way that any human being of any race or nationality, at any period of human history, has moved rhythmically to express himself, belongs to the dance. We endeavor to recognize and use all contributions of the past to the dance and will continue to use all new contributions in the future".[3] Technique and classes The first Denishawn School was housed in a Spanish-style mansion on top of a hill in Los Angeles. There were two spaces reserved for technique classes: an indoor studio where St. Denis primarily taught, and an outdoor ballroom for yoga meditations and Shawn's various classes (ballet, ballroom and what would later be called "Denishawn" technique). $500 covered the cost of a 12-week program that included daily technique classes, room and board, arts and crafts and guided reading lessons.[3] When taking technique classes, students danced in bare feet and wore identical one-piece black wool bathing suits.[4] Classes lasted three hours every morning. Shawn typically taught during the first block of time, leading students through stretches, limbering exercises, ballet barre and floor progressions and free-form center combinations. St. Denis then took over with instruction in Oriental and yoga techniques. Author and former Denishawn pupil Jane Sherman recalls an everyday class, laden with ballet terminology: "A typical Denishawn class began at the barre; first came stretching, petits and grands battements, a series of plies in the five positions, sixteen measures of grande rondes de jambes, and thirty-two measures of petites rondes de jambes. These might be followed by slow releves in arabesque, fast changes, entrechats, and exercises to prepare for fouettes. In short, the works! After ballet arm exercises out on the floor, we next worked to perfect our develops en tournant, out attitudes, out renverses, and our grande jetes."[3] Each pupil danced alone a series of pas de basques: the Denishawn version, the ballet, the Spanish, and the Hungarian. The Denishawn pas de basque was distinguished by arms held high and parallel overhead as the body made an extreme arch sideways toward the leading foot.[5] Next usually came a free, open exercise affectionately nicknamed "arms and body," done to a waltz from Tchaikovsky's Sleeping Beauty. A forerunner of the technical warmups now used in many modern dance schools, it started with feet placed far apart and pressed flat on the floor. After a slow swinging of the body into ever-increasing circles, came head, shoulder, and torso rolls, with the arms sweeping from the floor to the ceiling followed by a relaxed run around the circumference of the studio, ending in a back fall. Other exercises included Javanese arm movements, and hand stretches to train the dancers Western fingers into going backward into some semblance of Cambodian dance flexibility.[3] Class always closed with the learning of another part of a dance. Based on the theory that one learns to perform by performing, dance exercises were essential elements in Denishawn training, and some of them were so professionally interesting that they became part of the concert repertory" [3] One school in Massachusetts has continued to teach Denishawn Dance for over 50 years. The Marion Rice Studio of the Dance, in Fitchburg Massachusetts, educated students and performed Denishawn dances for the local community as well as at the Jacob's Pillow Dance Festival (1972), Marymount Manhattan College (1978), NY City College "Roots" Festival (1986) and the 2000 Millennium Dance Festival in Washington, DC.[6] Repertory and performance Ruth St Denis & Company The Denishawn Dancers took advantage of many performance opportunities – in colleges, concert halls, vaudeville theaters, convention centers and outdoor stadiums. Besides being invited to performance venues like New York's Palace Theater (1916), Denishawn was the first American company to present "serious Western dance" in Japan, Burma, China, India, Ceylon, Java, Malaya and the Philippines (1925–26) (Sherman, Enduring Influence 77). In some ways, the presented work was resembled ballet – each piece was a full-company story with elaborate costumes, sets and lighting. In terms of movement, however, the differences were obvious – no pointe shoes, no pas de deux lifts, no exact format for patterning solos and ensemble pieces. Most Denishawn works fall into one of four categories: Orientalia: Chronologically, these were the first true Denishawn works. St. Denis was responsible for the majority of these pieces, though Shawn did put together a small number of Oriental solos and group dances. As their title suggests, these pieces incorporate aspects of East Indian movement, dress and environment (in the form of set design). A particularly famous work from this period is St. Denis's Radha, a mini-ballet set in a Hindu temple in which an exotic woman dances to honor the five senses. Americana: While St. Denis found her most powerful inspiration in the Far East, Shawn seemed to find his in the cultures of America. His works dominate the Americana series, complete with musical scores by American composers and portrayals of "American" characters like cowboys, Indians and ballplayers. Shawn's comic pantomime Danse Americaine, for example, centers on a soft-shoe dancer acting as a baseball player. Music visualizations: Inspired by Isadora Duncan's approach to music, St. Denis developed the music visualization, which she defined as "...the scientific translation into bodily action of the rhythmic, melodic and harmonious structure of a musical composition without intention to in any way 'interpret' or reveal any hidden meaning apprehended by the dancer" (Sherman, Enduring Influence 47). Meaning, movement was set strictly to music without reading into anything emotionally. If the music swells, the body swells: if the music grows quiet, the body comes to rest. St. Denis's Soaring, set on five female dancers, is arguably her most well-known music visualization. Miscellanea: Also known as "Denishawn divertissements", these shorter works included those that cannot fit neatly into the pigeonholes of "Oriental", "Americana" and "Music Visualization" (Sherman, Enduring Influence 55). These works were reserved for performances that didn't require presentations of full-length ballets. Many Denishawn solo works remain in the active repertoire of many companies. Their solos are of special interest to many for their exotic qualities. Several of their solos were included in "The Art of the Solo" presented at the Baltimore Museum of Art on September 29, 2006. These included three revival premieres, namely, Shawn's "Invocation to the Thunderbird"(1916), last danced by Denishawn dancer John Dougherty and "Death of Adonis" (1922). Both were recreated by Mino Nicolas, programme curator, with the aid of film, written accounts and photographs. Also featured were the revival premiere of Ruth St. Denis' "The Peacock/A Legend of India" (1906) which was recreated using the same methods. Her signature solo, "The Incense", will also be performed by Cynthia Word of Washington, D.C. See also Dance portal Modern dance 20th century concert dance Louise Brooks Martha Graham Eleanor King Humphrey-Weidman Marion Rice Denishawn Dancers Marion Rice Lillian Powell Evan-Burrows Fontaine _______________________________________________________________ Why Buy From Chestnut Hill Books? Chestnut Hill Books has a perfect 100% feedback rating dating over 18 years and spanning 20,000+ transactions, with customers in all 50 states and over 100 countries on 6 continents. Our detailed seller ratings (item as described, communication, shipping time and shipping and handling charges) are among the best on eBay. All domestic purchases come with free shipping and complimentary delivery confirmation, trackable through the United States Post Office. 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