By Sam Wasson
Greater than a quarter-century after his dying, Bob Fosse’s fingerprints on pop culture stay indelible. the single individual ever to win Oscar, Emmy, and Tony awards within the related 12 months, Fosse revolutionized approximately each side of yank leisure, perpetually marking Broadway and Hollywood along with his iconic type — hat tilted, arms splayed — that might impression generations of appearing artists. but inspite of Fosse’s innumerable achievements, no accomplishment ever looked as if it would fulfill him, and offstage his existence was once shadowed in turmoil and anxiety.
Now, bestselling writer Sam Wasson unveils the fellow in the back of the swaggering intercourse charm, tracing Fosse’s untold reinventions of himself over a occupation that will spawn The Pajama video game, Cabaret, Pippin, All That Jazz, and Chicago, one of many longest-running Broadway musicals ever. Drawing on a wealth of unpublished fabric and hundreds of thousands of resources — associates, enemies, fans, and collaborators, a lot of whom have by no means spoken publicly approximately Fosse sooner than — Wasson illuminates not just Fosse’s prodigious expert lifestyles, but in addition his shut and conflicted relationships with every body from Liza Minnelli to Ann Reinking to Jessica Lange and Dustin Hoffman. Wasson additionally uncovers the deep wounds that propelled Fosse’s insatiable appetites — for spotlights, girls, and existence itself. during this sweeping, richly certain account, Wasson’s trendy, bubbling prose proves the suitable automobile for revealing Bob Fosse as he actually was once — after hours, pack up, and in vivid colour.
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Extra info for Fosse
After graduation she received a grant for further studies at the Juilliard School, New York. She studied with Antony Tudor and familiarized herself with the American modern dance techniques of Martha Graham and José Limón. It was precisely the time when a strong reaction against these formal techniques of modern dance arose and an avant-garde movement searched for alternative dance experiences and performing styles. After one year of intense study at Juilliard, she danced with the Metropolitan Opera Ballet during the 1961/62 season.
In this way Grossmann explores an area that Bausch leaves relatively untouched, for male impersonators appear far less often than female impersonators in Bausch’s work. Grossmann impersonates a man the way a Japanese onnagata impersonates a woman – by seeming to embody the opposite sex not only physically but also spiritually, but without attempting to fool the spectators as a transvestite might. The high point of her performance comes when she impersonates a father reciting advice to a son while moving through a series of repeated gestures – hitching up his pants, scratching behind his ear, reaching into his vest pocket.
Now dance no longer needed a story to tell, creating sense and signiﬁcance out of the movement itself. On this emancipated basis, the new theatre of dance of the sixties and seventies was able to develop. This was the time during which the student revolt also exerted its inﬂuence on the theatre. Dance emerged from the shadows of the visual image and reacted to the political controversies of the times. Choreographers no longer considered themselves executors of the classical estate, needing merely the odd innovation here or there.
Fosse by Sam Wasson