Fosse also revolutionized the way movie musicals are made. He directed and choreographed the film versions of Sweet Charity and Cabaret, in addition to choreographing for many other films. As discussed in Robert Emmet Long's book Broadway, The Golden Years: Jerome Robbins and the great Choreographer-Directors, 1940-Present, Fosse was so concerned with storytelling that the scenes in his movies seem almost transition-less. These movie musicals feel like live theatre because of his direction, which is a huge change from prior films. Hey Big Spender, an iconic number in Sweet Charity, is a good example of how he translated his work from stage to screen.
Wednesday, April 15, 2015
Historical Significance of Fosse's Work
Fosse paved the way for modern choreography that pushes boundaries and challenges convention. One of the main reasons Fosse began to direct as well as choreograph was to have full artistic freedom. While he was a widely respected and sought-after choreographer, directors consistently asked him to alter the controversial parts of his dances. Fosse was a known womanizer, married three times, and his choreography reflected this part of his personality in a lot of ways. His choreography was sexual in a more obvious, authentic way than other choreography of the time. Not only were his dancers executing provocative steps, they were doing so unashamedly and, quite often, in a dark context. Fosse did not shy away from any facet of the human experience, and it made people uncomfortable. However, this dialogue surrounding his work, combined with the sheer brilliance of his choreography, has made him unforgettable.
Fosse also revolutionized the way movie musicals are made. He directed and choreographed the film versions of Sweet Charity and Cabaret, in addition to choreographing for many other films. As discussed in Robert Emmet Long's book Broadway, The Golden Years: Jerome Robbins and the great Choreographer-Directors, 1940-Present, Fosse was so concerned with storytelling that the scenes in his movies seem almost transition-less. These movie musicals feel like live theatre because of his direction, which is a huge change from prior films. Hey Big Spender, an iconic number in Sweet Charity, is a good example of how he translated his work from stage to screen.
Fosse also revolutionized the way movie musicals are made. He directed and choreographed the film versions of Sweet Charity and Cabaret, in addition to choreographing for many other films. As discussed in Robert Emmet Long's book Broadway, The Golden Years: Jerome Robbins and the great Choreographer-Directors, 1940-Present, Fosse was so concerned with storytelling that the scenes in his movies seem almost transition-less. These movie musicals feel like live theatre because of his direction, which is a huge change from prior films. Hey Big Spender, an iconic number in Sweet Charity, is a good example of how he translated his work from stage to screen.
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I wrote a paper on "Big Spender" last year which mainly focused on Fosse's development of subtext in the number. What appears to just be desperate women in an disgraceful career can be more closely analyzed to find the struggles that each woman has and the character of each woman. You can find these struggles through the movement--the sex appeal comes from a real place that each dancer must find in herself and her character. This is one of the reasons I love Fosse--any number of his is so much more than just pretty dance moves. They tell stories.
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