Moves

Moves is a one-act ensemble ballet choreographed by Jerome Robbins for his touring company Ballet: USA. Unlike conventional ballets, it is performed without an accompanying musical score, scenery, or distinctive theatrical costumes. The dancers generally appear in practice clothes, placing the physical mechanics, spatial relationships, timing, and expressive qualities of the choreography at the center of the work. The ballet originated in the context of Ballet: USA's planned 1959 international tour under the auspices of the United States Department of State. Robbins initially intended to collaborate with composer Aaron Copland, with whom he had worked on earlier projects. Copland began developing music for the new ballet, which Robbins described as a non-narrative presentation of the company's youth, technical ability, personalities, and distinctly American approach to classical ballet. Robbins supplied broad ideas for possible movements but allowed the material to evolve during rehearsal. Copland struggled to complete a score that corresponded to Robbins's developing choreography. Robbins began experimenting with the material in rehearsal using counts rather than continuous music. He found that the dancers' movements and their relationships became unusually vivid when stripped of musical accompaniment. Although Copland eventually supplied a sketch, Robbins concluded that there was not enough time to absorb and integrate the score before the tour. He therefore decided that the ballet would be presented in silence and gave it the title Moves. The decision was initially controversial. The American National Theater and Academy, which sponsored the project, and members of the State Department panel objected to presenting a silent ballet and attempted to have it replaced. A pre-tour run-through nevertheless received a favorable response from many observers, including Copland, while the panel remained opposed. Moves ultimately premiered at the Festival of Two Worlds in Spoleto, Italy, on July 3, 1959. Its tour performances sold well and received critical acclaim, helping secure the work's continued life in repertory. Moves is not completely without sound or rhythmic organization. Robbins incorporated visual signals and small audible cues that allow dancers to coordinate tempo and transitions. The absence of music, scenery, and conventional costumes functions as an artistic framework rather than a production limitation: the work magnifies ballet technique and makes the dancers' interactions the primary theatrical event. The ballet has been revived by several major companies. Robbins staged it for the Batsheva Dance Company in Israel in 1966, the Joffrey Ballet added it to its repertory in 1967, and the New York City Ballet first performed it in 1984. Robbins later remounted it for the Paris Opera Ballet in 1993. Copland's unrealized or superseded musical material was subsequently published as Dance Panels, a work that preserves the composer’s connection to the project while Moves remains known for its deliberate silence.

Moves was created in 1959 for Ballet: USA, Jerome Robbins's company, during preparations for a sixteen-country tour supported by the United States Department of State. Robbins wanted to work again with Aaron Copland and initially proposed a non-story ballet that would present the company's style, energy, technical competence, and personalities through pure dance. He offered Copland a range of possible movement ideas while leaving the final form open to discovery in rehearsal. Copland had difficulty producing a completed score in time for the company's departure. Robbins began choreographing with counts and without continuous musical accompaniment after hearing an early piano presentation of Copland's material. The silent rehearsal process changed his conception of the work: he became interested in the way movement, spacing, and emotional connection were exposed when music, scenery, and elaborate costumes were removed. When Copland sent a preliminary sketch shortly before the tour, Robbins judged that the music and choreography had developed in different directions and that he could not adequately absorb the score before the scheduled performances. Robbins consequently decided that the ballet would be performed in silence and named it Moves. The sponsoring American National Theater and Academy and a State Department panel objected strongly, with some officials urging the company to substitute another work. A private run-through produced a more favorable response from other observers, including Copland, and the ballet remained in the program. It premiered on July 3, 1959, at the Festival of Two Worlds in Spoleto, Italy, and was subsequently presented during Ballet: USA's international tour. Sold-out performances and positive critical notices eventually softened the sponsor's opposition. The work's formal design is intentionally spare. Dancers perform in ordinary practice clothing, without scenery, and rely on visual and limited audible cues to maintain tempo and coordination. Robbins treated the silence as an active compositional element: without a score dictating mood or rhythm, the audience is directed toward the dancers' physical choices and their relationships onstage. The ballet is therefore an ensemble work rather than a narrative drama, and its meaning is generated through movement structure and interaction. Moves continued to circulate after its original production. Robbins staged it for the Batsheva Dance Company in 1966, and the Joffrey Ballet incorporated it into its repertory in 1967. The New York City Ballet, Robbins's principal later artistic home, debuted the work in 1984. In 1993, Robbins remounted it for the Paris Opera Ballet. Copland's music for the abandoned collaboration was later published under the title Dance Panels. Robbins subsequently regarded that music as the accidental catalyst for the silent ballet: although he regretted not realizing Copland's score as originally intended, the failed musical collaboration led directly to the distinctive identity of Moves.

• 1993

  Paris Opera Ballet remount

  [1]Moves (ballet)en.wikipedia.org

  Robbins remounted the work for the Paris Opera Ballet.

• 1984

  New York City Ballet debut

  [1]Moves (ballet)en.wikipedia.org

  The New York City Ballet presented Moves for the first time.

• 1967

  Joffrey Ballet repertory debut

  [1]Moves (ballet)en.wikipedia.org

  The Joffrey Ballet added Moves to its repertory.

• 1966

  Batsheva revival

  [1]Moves (ballet)en.wikipedia.org

  Robbins staged the ballet for the Batsheva Dance Company in Israel.

• 1959

  Created for Ballet: USA

  [1]Moves (ballet)en.wikipedia.org

  Jerome Robbins developed Moves for Ballet: USA's planned State Department-sponsored international tour, initially intending to use a new score by Aaron Copland.

• 1959

  Silent format established

  [1]Moves (ballet)en.wikipedia.org

  Robbins shifted the work into rehearsal without music and decided that the finished ballet would be performed in silence after Copland's score and the choreography diverged.

• 1959

  World premiere in Spoleto

  [1]Moves (ballet)en.wikipedia.org

  Moves premiered at the Festival of Two Worlds in Spoleto, Italy, on July 3, 1959.

A minimalist, choreography-led ballet that foregrounds dancers' bodies, timing, and relationships by removing music, scenery, and theatrical costumes.

• Ballet · 1959

  Moves

  A silent, non-narrative ensemble ballet choreographed by Jerome Robbins. It uses classical ballet technique while omitting a conventional musical score, scenery, and theatrical costumes. Dancers perform in practice clothes and coordinate through sight cues, counts, and small audible signals. The work's central theatrical effect comes from concentrating attention on bodily movement, timing, spatial design, and interpersonal relationships.

• Published orchestral score

  Dance Panels

  Aaron Copland's later-published musical material associated with the original Moves collaboration. The score was not used for the ballet's premiere because Robbins chose to continue with a silent production, but its publication documents the musical project that helped inspire the final form of Moves.

• 1959

  Robbins chose a silent productionStrategy

  Background

  The ballet was initially conceived as a collaboration with Aaron Copland, but the developing score and Robbins's choreography did not converge before Ballet: USA's international tour.

  Action taken

  Robbins removed the musical accompaniment and presented the work with dancers in practice clothes and without scenery.

  Aftermath

  The decision caused resistance from the sponsoring organization and a State Department panel, but the ballet premiered successfully, received critical acclaim, and continued through later company revivals.

  Source

• 2020.10.14

  Reported2020.10.14

  Moves launches affiliate program with Fintel Connect[2]Moves与Fintel Connect推出联盟营销计划prnewswire.com

  Moves launched an affiliate program in partnership with Fintel Connect, using Fintel Connect's technology and network to promote Moves' services to gig workers.

Read more

1. 1Moves (ballet)en.wikipedia.org
2. 2Moves与Fintel Connect推出联盟营销计划prnewswire.com