10. Going Public: Mary Cassatt and the 1886 Impressionist Exhibition in New York

Keyword(s):  
New York ◽  
2010 ◽  
Vol 51 (1) ◽  
pp. 95-114
Author(s):  
Christopher Martin

When artist-inventor Samuel B. Morse alleged that the Bowery Theatre performance of French ballerina Madame Hutin was “to all intents and purposes thepublic exposure of a naked female,” he was expressing an opinion that conflicted with that of other critics, who felt that the performance of French dancers would “put to shame our splay-footed indigenous sprawlers, and will greatly refine the taste in dancing in the play-going public.” In Jacksonian American, citizens who were concerned with the direction of the nation's culture engaged in a debate about the respective merits of the less-polished art created in the New World and the more refined offerings of the Old World that was played out in critical reactions to an increasingly popular theatrical form: ballet. Ballet gradually became an important part of American theatre during the first half of the nineteenth century as dancers appeared on stages in Boston, New York, Philadelphia, Baltimore, and Charleston in front of the same audiences that attended the dramatic plays whose productions have received the bulk of academic attention. Three waves of European dancers came to the Americas during the period 1790 to 1845. The first wave (1790–1825) consisted of small companies who presented dance to a broad range of audiences, typically before other plays or during entr'actes. This article focuses on performances that occurred during the second wave (1825–40), when impresarios recruited established (though not top-tier) European ballerinas to come to specific theatres. These dancers brought the repertoire and styles of the Romantic ballet to America, including evening-length performances with fairy-tale plots and an emphasis on charismatic female stars, such asLa Sylphide.The first American ballerinas, Mary Ann Lee and Augusta Maywood, made their debuts during this period. The third wave (1840–5) consisted largely of “headliners” such as Fanny Elssler, who toured the country performing selections from their famous roles andpaswith a corps de ballet recruited from each city they visited.


1983 ◽  
Vol 8 (2) ◽  
pp. 146-156
Author(s):  
James S. Moy

Nineteenth century American theatre managers generally sought to attract mass audiences. Toward this end they usually featured variety, novelty, and the spectacular in attempts to provide a little something for everyone on each evening's program. By the end of the century many managers had begun to alter this policy, choosing instead to offer entertainments which appealed to only a particular segment of the theatre-going public. Accordingly, the late nineteenth century and the beginning of the twentieth century brought the development of many distinct strains of theatrical entertainment like vaudeville, the circus, the Little Theatre movement, and the beginnings of the night-club industry.


Sign in / Sign up

Export Citation Format

Share Document