Agnes de Mille Biography

Born asAgnes George de Mille
Occup.Dancer
FromUSA
BornSeptember 18, 1905
New York City, New York, USA
DiedOctober 7, 1993
New York City, New York, USA
CauseStroke
Aged88 years
Early Life and Background
Agnes George de Mille was born upon September 18, 1905, in New York City, USA. She was the daughter of William C. deMille, a renowned playwright and screenwriter, and Anna Angela George, who came from a family with a background in education and the arts. Her uncle, Cecil B. DeMille, was a pioneering movie director, which meant Agnes matured in an imaginative environment with strong influences from theater and cinema.

Education and Early Career
Agnes graduated from UCLA with a degree in English however was identified to become a dancer. Regardless of her family's initial disapproval of her pursuing dance professionally, she studied ballet intensively under various teachers both in the United States and in Europe. Though she started fairly late as a professional dancer, her determination and special innovative vision helped her gotten rid of the technical limitations she dealt with.

Values and Choreographic Style
De Mille was understood for integrating narrative and character into her choreography, a relatively brand-new method in American ballet and theater at the time. Her works often combined elements of American folk styles and were marked by their storytelling quality. She was instrumental in pioneering the "integrated musical", where dance played a central role in developing plot and character instead of acting as mere entertainment.

Advancement and Major Works
Agnes de Mille rose to prominence with her work "Rodeo" in 1942, which was choreographed for the Ballet Russe de Monte Carlo. The ballet, with music by Aaron Copland, celebrated the life and culture of the American West and was a significant departure from the conventional European styles that controlled ballet at the time.

Her next significant success came with her choreography for the 1943 musical "Oklahoma!" This innovative production included dance as an essential part of the story, with the famous "dream ballet" exhibiting her innovative technique. The success of "Oklahoma!" developed her as a key figure on Broadway and caused more success with productions like "Carousel" (1945) and "Brigadoon" (1947).

Relationships and Collaborations
Throughout her profession, Agnes de Mille collaborated with different influential figures in the arts, including authors like Aaron Copland and Richard Rodgers, and lyricist Oscar Hammerstein II. She worked together with directors such as Rouben Mamoulian and was highly regarded by peers like Martha Graham, with whom she shared a shared respect and friendship.

Awards and Legacy
De Mille received various accolades for her contributions to dance and theater. She was granted Tony Awards, the Drama Desk Award, and was inducted into the American Theater Hall of Fame. Her autobiography, "Dance to the Piper", and several other writings provide insights into her viewpoints and the experiences behind her choreographic processes.

Later Years and Death
In her later years, Agnes de Mille continued to affect the dance world, mentoring young choreographers and lecturing extensively about the arts. Despite suffering a stroke in 1975, she remained active, working on jobs and writing till her health declined. She died on October 7, 1993, in New York City, leaving behind a transformative tradition in American dance and theater.

Contribution to American Dance
Agnes de Mille is remembered for her ability to fuse dance with storytelling, making substantial contributions that changed the course of American musical theater and dance. Her work stays prominent, and her vision led the way for future generations of choreographers and dancers who recognize the power of dance as a narrative force.

Our collection contains 11 quotes who is written / told by Agnes.

Related authors: Oscar Hammerstein (Writer), Martha Graham (Dancer), Oscar Hammerstein II (Musician), Aaron Copland (Composer), Cecil B. DeMille (Producer), Lawrence Taylor (Athlete), Richard Rodgers (Composer)

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11 Famous quotes by Agnes de Mille

Small: The artist never entirely knows. We guess. We may be wrong, but we take leap after leap in the dark
"The artist never entirely knows. We guess. We may be wrong, but we take leap after leap in the dark"
Small: No trumpets sound when the important decisions of our life are made. Destiny is made known silently
"No trumpets sound when the important decisions of our life are made. Destiny is made known silently"
Small: Living is a form of not being sure, not knowing what next or how. The moment you know how, you begin to
"Living is a form of not being sure, not knowing what next or how. The moment you know how, you begin to die a little"
Small: The truest expression of a people is in its dances and its music. Bodies never lie
"The truest expression of a people is in its dances and its music. Bodies never lie"
Small: A good education is usually harmful to a dancer. A good calf is better than a good head
"A good education is usually harmful to a dancer. A good calf is better than a good head"
Small: To dance is to be out of yourself. Larger, more beautiful, more powerful. This is power, it is glory on
"To dance is to be out of yourself. Larger, more beautiful, more powerful. This is power, it is glory on earth and it is yours for the taking"
Small: Theater people are always pining and agonizing because theyre afraid that theyll be forgotten. And in A
"Theater people are always pining and agonizing because they're afraid that they'll be forgotten. And in America they're quite right. They will be"
Small: The universe lies before you on the floor, in the air, in the mysterious bodies of your dancers, in you
"The universe lies before you on the floor, in the air, in the mysterious bodies of your dancers, in your mind. From this voyage no one returns poor or weary"
Small: Modern dancers give a sinister portent about our times
"Modern dancers give a sinister portent about our times"
Small: The practice mirror is to be used for the correction of faults, not for a love affair, and the figure y
"The practice mirror is to be used for the correction of faults, not for a love affair, and the figure you watch should not become your dearest friend"
Small: The creative urge is the demon that will not accept anything second rate
"The creative urge is the demon that will not accept anything second rate"