Choreographers (Bob Fosse, Susan Stroman,

¶ … Choreographers (Bob Fosse, Susan Stroman, and Michael Bennett) and the Impact of Their Work on the Dance Style on the Broadway Stage Today Bob Fosse, Susan Stroman, and Michael Bennett have all left distinct influences on the dance style of the current Broadway Stage. In each case, they deployed techniques that were unusual, in many cases borrowing from disciplines or cultural influences that are distinct from the actual theater tradition.

Additionally, they worked in some cases in disciplines that were distinct from the Broadway stage, and in some ways this broadened the scope of the Broadway Musical genre. For example, Bob Fosse was not only known for his choreography on the stage but also in the Hollywood musical. Because of their ability to incorporate innovative techniques into the setting of the Broadway Musical, one can consider Fosse, Stroman, and Bennett to be pioneers of theater.

Bob Fosse was part of an earlier generation than Stroman and Bennett, although it should be noted that Bennett died extraordinarily young and he and Fosse both passed away in 1987. As someone who was born in the 1920s, Fosse was influenced by the German cabaret culture that was popular in Germany through the era of the Weimar Republic. Prior to Fosse's emergence, the Broadway Musical had been conservative and it was considered uncouth to incorporate material that was risque or subversive.

However, Fosse is largely responsible for a shift in costuming in which outfits became significantly more sexually assertive and often subversive. One of the foremost examples of Fosse's style can be seen in the 1972 film musical Cabaret, for which he also served as director. The narrative of the film explicitly incorporates cabaret culture (as the title alludes), and there are suggestive outfits, striptease, and gender-bending within the film (Cowser Jr.).

The dance style of the film reflects the same bold style that characterizes Fosse's Broadway musical style, with numerous bodily gyrations, knees that are turned inwards, and substantial amounts of horizontal movement. As a result, his productions are filled with substantial amounts of movement and visual spectacle, resulting in an overwhelming sense of dynamism the likes of which had rarely been seen previously. Susan Stroman also utilized a novel choreography style, borrowing from elements of storytelling and other art forms.

Stroman often deploys elements of fantasy and magic in her productions, as evidenced by her production of Crazy for You in 1992. She also differs from Fosse in that the music is to some degree subordinated to the visuals, as Stroman is fond of simply using recorded music. It has been argued that Stroman is in some ways more of a storytelling than a choreographer, and that she has supplied narrative to an artistic discipline that is often predicated predominantly around the musical numbers (Fattal).

For Stroman, the musical numbers must be integrated within a narrative rather than standing as more autonomous (or hegemonic) components of the Broadway Musical. Michael Bennett brought a less-defined style than Stroman or Fosse, although he made a great impact on the Broadway musical. His costuming was more colorful than the previously accepted norm, as he incorporated garish neon pink, green, and yellow tones into his costume design for the 1975 play a Chorus Line (Hecht).

By focusing on costuming, Bennett made the costuming a more integral component of the Broadway musical than previously been accepted. (B): How Can Prospective Dancers Use Information About Dance Style to Develop Their Style? There are many ways in which up-and-coming dancers can utilize information about dance styles and audition techniques to enhance their dance career. With regard to audition technique, every prospective dancer should have a strong knowledge of the source text for the theatrical production.

Additionally, in the case of productions that involve singing, it is imperative that one have a working grasp of the musical numbers involved in the production, as well as a roster of songs with which one is more polished. A successful strategy is also to wear clothing that is professional yet bold enough so that one can be well-noticed by those evaluating the audition.

Additionally, one should arrive early but make certain that they are in the middle of the line of those auditioning; being one of the first to audition can result in the evaluators forgetting one's performance, while those who audition at the end run the risk of the evaluators already making up their mind. Up-and-coming dancers should study a wide.