文章来源:扬州搜房网房天下|彩票开奖号大全彩票开奖号大全发布时间:2019-12-11 17:25:25  【字号:      】


  The dynamic professional and romantic relationship between Bob Fosse and Gwen Verdon has been dramatized in “Fosse/Verdon,” an FX series having its premiere on Tuesday and starring Sam Rockwell and Michelle Williams.

  It might just leave you scrambling to revisit — or discover for the first time — the brilliance of their work on screen: the exuberance, the precision, the sex, the oft droll humor. Fosse and Verdon collaborated across multiple entertainment mediums, so there are plenty of pieces to choose from. Here are some of the best.

  [The why and how of Fosse/Verdon dance moves.]

‘Mexican Breakfast’ (‘The Ed Sullivan Show,’ 1969)

  Stream it on Vimeo.

  Many of the moves in “Single Ladies (Put a Ring on It)” bear a striking resemblance to this number, which Verdon and two dancers performed on “The Ed Sullivan Show.”

  Highlights: The casual head bobs; the high kicks (so many!) done with such ease. But Beyoncé isn’t the only huge pop star to have borrowed from Fosse …

‘A Snake in the Grass’ (‘The Little Prince,’ 1974)

  Rent or purchase it on Amazon.

  In a rare later-in-life onscreen performance, Fosse played the Snake in this musical adaptation of the French, pseudo-children’s novella.

  Highlights: His neck isolations, soft-shoe footwork and the all-black ensemble are an obvious inspiration for Michael Jackson’s signature moves, as has been noted for years. And Fosse truly had a thing for hats …

‘Who’s Got the Pain?’ (‘Damn Yankees,’ 1958)

  Purchase it on Amazon.

  More hats! And a song about … doing the mambo and feeling sick? The lyrics are nonsensical, but the rare image of Fosse and Verdon dancing together on screen is irresistible.

  Highlights: The furious footwork and pure joy that comes across. But the real highlight of “Damn Yankees” is definitely …

‘Whatever Lola Wants’ (‘Damn Yankees’)

  A striptease that’s as weird as it is sexy — maybe even more so? But that’s why it works; Verdon is completely game to lean hard into the playful nature of old-school burlesque as filtered through Fosse’s precise choreography.

  Highlights: Verdon’s signature, nasally vocals, which are as expressive as her moves; the manic, cartoonish baby steps during the break. Seduction was a common theme in Fosse’s pieces …

‘Big Spender’ (‘Sweet Charity,’ 1969)

  Stream it on Amazon Prime.

  The dancer and choreographer Ann Reinking, another collaborator (and romantic partner) of Fosse’s, has described the characterization of the dance hostesses like so: “From the waist up you’re glamorous, you’re wonderful. But from the waist down, you’re tired and your legs are busted and your feet hurt.” You can feel it seep through the dancers’ slinky bodies; much of this number actually involves intense stillness.

  Highlights: The overemphasized, mesmerizing isolated movements, which you can also find in …

‘Rich Man’s Frug’ (‘Sweet Charity’)

  A stunning three-act caricature of the elegant upper class trying to be hip like the kids. According to Sam Wasson’s comprehensive biography “Fosse” — the basis of “Fosse/Verdon” — the “Aloof” section was inspired by Arthur, a Mod-themed New York nightclub that catered to the likes of John Wayne and Jacqueline Kennedy.

  Highlights: The stoic faces and go-go inspired choreography, which demonstrate the 30-something Fosse’s willingness to engage with the trends of the time and make it his own, not unlike …

‘I Gotcha’ (‘Liza With a Z,’ 1972)

  Stream it on YouTube.

  The entire hourlong concert special is highlight after highlight, but this number, a cover of a song by soul singer-songwriter Joe Tex, stands out. In a hot red mini-dress and flanked by two male dancers, Minnelli commands the stage with Fosse’s delightfully herky-jerky choreography.

  Highlights: The backup dancers, who are for some reason wearing wide-brimmed hats, white ruffled tuxedo shirts and what look like riding boots. Fosse was excellent at envisioning movement for trios, as also seen in …

‘Steam Heat’ (‘The Pajama Game,’ 1957)

  Purchase it on Amazon.

  So much signature Fosse styling is in this number, including the hat-as-prop, slouched frame, shoulder rolls. And even if the song has no real bearing on the plot of “The Pajama Game” it will burrow itself in your brain.

  Highlights: Carol Haney, Buzz Miller and Kenneth LeRoy effortlessly dancing the contrasts between tight, syncopated movements and bigger, more fluid ones bursting with energy, kind of like …

‘Mein Herr’ (‘Cabaret,’ 1972)

  Rent or purchase it on Amazon.

  The visual emphasis is on the long lines of Minnelli’s body and her dancers’, the deeply arched backs, the extended and accentuated legs and arms.

  Highlights: Minnelli’s utter commitment and ease with the chair work; the dark, smoky aesthetic of the cabaret, which Fosse would return to for …

‘Take Off With Us’/ ‘Airotica’ (‘All That Jazz,’ 1979)

  Purchase it on Amazon.

  What starts off as a number that sounds like it could have been plucked straight from “A Chorus Line” takes a turn for the bizarrely tantalizing. An aviation theme is envisioned via an erotic lens, as Fosse imagines a balletic orgy of sorts. It’s strange, but the dancing is a marvel.

  Highlights: The classic Fosse language in the first part — the hats, gloves, the tableaus moving in sync.

  Want more Verdon and Fosse? Other notable works include the jazzy duet “Nowadays/Hot Honey Rag”; the Charlie Chaplin-esque “Erbie Ferbie’s Twitch”; and the joyous, playful “Alley Dance.”




【玄】【幻】【新】【书】《【风】【神】【霸】【主】》【正】【式】【发】【布】,【感】【兴】【趣】【的】【读】【者】【可】【以】【前】【来】【翻】【翻】,【如】【果】【还】【合】【口】【味】,【记】【的】【收】【藏】【一】【下】【给】【个】【推】【荐】。 【谢】【谢】!

【推】【荐】【作】【者】【的】【另】【一】【部】【完】【结】【短】【篇】,【全】【文】【只】【有】【几】【十】【章】~【依】【旧】【是】【甜】【宠】【爽】【文】【风】【格】~【欢】【迎】【跳】【坑】! 【书】【名】:《【死】【对】【头】【好】【像】【喜】【欢】【我】》 【简】【介】: 【她】【重】【生】【成】【了】【死】【对】【头】【的】【未】【婚】【妻】。 【上】【辈】【子】,【他】【处】【处】【与】【自】【己】【作】【对】。 【这】【辈】【子】,【却】【发】【现】【他】【好】【像】【喜】【欢】【她】……

         【高】【兴】【在】【舞】【台】【上】【的】【光】【环】【在】【走】【下】【舞】【台】【后】【很】【快】【就】【不】【见】【了】,【很】【多】【人】【都】【知】【道】【中】【文】【专】【业】【有】【个】【学】【生】【唱】《【我】【的】【中】【国】【心】》【很】【厉】【害】,【在】【舞】【台】【下】【高】【兴】【实】【在】【是】【太】【普】【通】【人】,【没】【有】【人】【会】【把】【现】【实】【中】【的】【高】【兴】【和】【舞】【台】【上】【的】【高】【兴】【联】【系】【在】【一】【起】,【大】【家】【崇】【拜】【的】【是】【舞】【台】【上】【的】【高】【兴】。   【高】【兴】【和】【平】【常】【一】【样】【去】【图】【书】【馆】【去】【学】【习】,【每】【天】【晚】【上】【都】【和】【姚】【晶】【晶】【在】【一】【起】彩票开奖号大全【偶】【感】【风】【寒】,【傍】【晚】【吃】【了】【感】【冒】【药】【贼】【困】【三】【个】【小】【时】【写】【了】【俩】【千】【字】,【今】【天】【欠】【一】【根】,【先】【睡】【一】【觉】,【不】【逞】【强】,【最】【近】【更】【新】【应】【该】【不】【错】,【平】【均】【每】【天】【至】【少】【万】【字】,【所】【以】【更】【不】【能】【逞】【强】,【免】【得】【耽】【误】【后】【面】【的】【稳】【定】【更】【新】,【今】【天】【好】【歹】【有】7000【多】【字】,【睡】【一】【觉】【明】【天】【再】【写】,【晚】【安】,【抱】【歉】【让】【小】【伙】【伴】【们】【白】【等】【了】

  【唐】【沐】【瑾】【带】【着】**【穿】【进】【时】【间】【长】【河】,【两】【人】【什】【么】【也】【没】【说】,【这】【次】【没】【再】【出】【现】【什】【么】【差】【错】,【很】【安】【全】,【也】【很】【顺】【利】,【两】【人】【终】【于】【来】【到】【了】【政】【变】【的】【前】【三】【天】 【两】【人】【悄】【无】【声】【息】【的】【来】【到】【了】【武】【则】【天】【的】【寝】【殿】,【躲】【在】【屏】【风】【后】【面】,【而】【主】【角】——【武】【则】【天】,【早】【已】【病】【入】【膏】【肓】,【斜】【着】【倚】【靠】【在】【龙】【榻】【上】,【对】【一】【旁】【的】【高】【力】【士】【轻】【声】【道】:“【他】【怎】【么】【样】【了】,【可】【还】【好】?” “【回】【陛】【下】,【近】

  “【以】【后】【你】【就】【叫】【霓】【裳】【乐】【伶】【吧】。【梦】【霓】【裳】【蹲】【下】【身】,【轻】【抚】【着】【霓】【裳】【乐】【伶】【娇】【弱】【的】【花】【瓣】,【说】【道】。 【梦】【霓】【裳】【说】【这】【些】【的】【时】【候】【眸】【中】【时】【不】【时】【的】【划】【过】【一】【丝】【懊】【悔】。 【尽】【管】【我】【不】【知】【道】【她】【到】【底】【在】【懊】【悔】【什】【么】,【但】【是】【她】【那】【种】【情】【绪】【却】【是】【很】【懂】。 【我】【也】【常】【会】【想】【起】【不】【知】【在】【哪】【个】【时】【空】【的】【地】【球】,【那】【个】【让】【我】【厌】【恶】【却】【想】【守】【护】【的】【家】。 “【我】【曾】【经】【想】【改】【变】【沧】【澜】【大】【陆】,【让】【其】【充】

  “【本】【宫】【能】【做】【什】【么】?【自】【当】【是】【饿】【了】,【你】【莫】【不】【是】【觉】【得】【本】【宫】【要】【寻】【死】?【本】【宫】【不】【是】【那】【么】【蠢】【笨】【之】【人】。” 【舒】【沁】【雅】【被】【姜】【贝】【锦】【推】【着】,【便】【只】【能】【不】【得】【不】【依】【姜】【贝】【锦】,【缓】【缓】【的】【背】【过】【身】【去】【离】【开】【了】【栖】【鸾】【殿】。 【此】【时】【未】【央】【宫】【外】【一】【旨】【诏】【书】【而】【来】,【那】【来】【人】【念】【道】,“【皇】【后】【姜】【氏】,【秽】【乱】【宫】【闱】,【厮】【会】【外】【男】,【出】【卖】【朝】【堂】,【毒】【害】【宫】【妃】……” 【那】【诏】【书】【上】【写】【了】【许】【多】,【罪】【名】