Eugene Loring

Eugene Loring (August 2, 1911-August 30, 1982) American ballet and other dance-forms dancer, choreographer and teacher and administrator. [Most of the material in this article is derived from or confirmed by three sources: the New York Public Library Biographical History for its collection [http://digilib.nypl.org:80/dynaweb/ead/nypl/danlorin/@Generic__BookTextView/190;pt=209] ; the entry in "The Encyclopedia of Dance & Ballet", Mary Clarke and David Vaughan, eds (New York: Putnam, 1977), p. 221; the Memoriam notice by Eugene Loring's three University of California-Irvine Department of Dance colleagues: Professors Olga Maynard, James Penrod, Janice Gudde Plastino: [http://content.cdlib.org/xtf/view?docId=hb4d5nb20m&doc.view=frames&chunk.id=div00079&toc.depth=1&toc.id=] For closer details of Loring's early artistic development it relies on Olga Maynard, "The American Ballet" (New York: Macrae Smith, 1959), pp. 227-241.]

Biography

Eugene Loring, born 'Leroy Kerpestein', son of a saloon-keeper, grew up on a small island in the Milwaukee River, Wisconsin. He was a natural dancer, and took gymnastic lessons. His artistic education in Milwaukee was formative. Nine years of piano training developed his musical ability broadly into orchestration, and his work with the Wisconsin Players, particularly under the direction of the Russian Boris Glagolin [http://ru.wikipedia.org/wiki/%D0%93%D0%BB%D0%B0%D0%B3%D0%BE%D0%BB%D0%B8%D0%BD_%28%D0%93%D1%83%D1%81%D0%B5%D0%B2%29%2C_%D0%91%D0%BE%D1%80%D0%B8%D1%81_%D0%A1%D0%B5%D1%80%D0%B3%D0%B5%D0%B5%D0%B2%D0%B8%D1%87] , developed his strong theatrical sense and gave him an awareness of dance as a theatrical force. With savings from his job as a hardware-store manager, Loring went to New York City near the depth of the Great Depression in 1934, and was taken into George Balanchine's and Lincoln Kirstein's newly-formed School of American Ballet. With the Russian Imperial training given by SAB, he danced with Balanchine's first American company, American Ballet, and even auditioned successfully for Michel Fokine. When Kirstein formed the specifically American choreographic training company Ballet Caravan in 1936, Loring and Lew Christensen (who together formed a little company, Dance Players, 1941-42) emerged as its outstanding products. Within two years Loring choreographed and danced in "Billy the Kid", which enjoys status as the first American ballet classic, with an unbroken history of production since. After choreographic residence at Bennington College, Vermont, where he made some works, Loring joined Ballet Theatre (now ABT) in 1939, where, in that company's first season, he choreographed and danced in his "The Great American Goof", with libretto by William Saroyan.

Loring, who began dancing in his father's saloon, was at ease with all kinds of dance: national, classic, modern, theater or not. He choreographed the Broadway musicals "Carmen Jones" and "Silk Stockings" and had an extensive career in Hollywood, directing and choreographing for film and television. Dancers he worked with most frequently include Fred Astaire, Cyd Charisse, and James Mitchell. Loring's most significant film credits are "Silk Stockings", "Funny Face" (both in 1957), "Yolanda and the Thief", "Ziegfeld Follies", "The Toast of New Orleans", "Deep in My Heart", "Meet Me in Las Vegas". Resettled in Los Angeles in 1943 on contract with MGM (Loring had a feature role in "National Velvet" even before he choreographed for them), he turned his attention to regularizing and applying his principles of versatile "Freestyle" professional dance education, including (from 1955) his own dance notation, Kineseography. [For Loring's historical connection to dance notation, see Ann Hutchinson Guest, "Dance Chronicle" 18, 2, "Aspects of Dance: Essays in Honor of Selma Jeanne Cohen" (1995), pp. 195-206; also Dance Notation Bureau section of [http://www.danceheritage.org/members.html] ] He operated the commercially successful American School of Dance in Hollywood along those principles, and from 1965 developed them in a university educational setting, on invitation by Dean Clayton Garrison to chair the Department of Dance within the School of Fine Arts of the newly formed University of California, Irvine. Loring retired from UCI at age seventy in 1981, returned to New York State but lived only another year.

Brief estimate

Loring's most popular choreographed work, "Billy the Kid", is sometimes compared with Agnes de Mille's later "Rodeo". Like "Rodeo", "Billy the Kid" has a beautiful score by Aaron Copland and draws on the mythology of the American West. However unlike de Mille's ballet, "Billy the Kid" offers a bleak vision of the frontier, with a protagonist more fittly characterized, according to one recent critic, as a "murderous psychopath" [1] . Although its continued production renews that work and its creator for us, understandably, Loring tired of being classified by work he had done in his mid twenties. In fact, he made several important marks on modern dance and culture. In his early career, he helped to overcome bias against American dancers, with American names, in their own country. He was one of the innovators of American ballet choreography, based on unmistakably American themes. He made classic motion-picture dances, and was a pioneer in bringing professional dance training into university education programs. With his remarkable combination of skills, determination, and strong theatrical sense of dance, Loring provided an effective vision, which helped American dance find its identity and direction.

Eugene Loring: ballet choreology

*"Harlequin for President" (1936)
*"Yankee Clipper" (1937)
*"Billy the Kid" (1938)
*"City Portrait" (1939)
*"The Great American Goof" (1940)
*"Prairie"
*"The Man from Midian"
*"The Capitol of the World" (1953)
*"These Three" (1966)

ources: notes and external links

Two full, well-organized listings of collections of Loring's papers, letters, recordings, films etc. are available on line:
*New York Public Library Digital Library Collections site: [http://digilib.nypl.org/dynaweb/ead/nypl/danlorin/@Generic__BookTextView/209;pt=231 Index to the Eugene Loring Papers]
*University of California-Irvine Library Special Collections holdings: [http://www.oac.cdlib.org/findaid/ark:/13030/tf3g500545 Guide to the Eugene Loring Papers, Special Collections and Archives, UC Irvine Libraries] .

*For Loring's Broadway musical work see [http://www.ibdb.com/person.asp?id=5462 Internet Broadway Database]
*For his film work see [http://www.imdb.com/name/nm0520997/ Internet Movie Database]
*For a brief (illus.) listing on Loring, see [http://www.danceheritage.org/publications/treas_blurbs07.html Dance Heritage Coalition]
* [http://select.nytimes.com/gst/abstract.html?res=F30A16FF3F5C0C728CDDA00894DA484D81 NY Times obituary, September 1, 1982]