Книга: Fred Astaire «Steps in Time: An Autobiography»
Производитель: "Неизвестный" One of the foremost entertainers of the twentieth century - singer, actor, choreographer, and, of course, the most dazzling `hoofer` in the history of motion pictures - Fred Astaire was the epitome of charm, grace, and suave sophistication, with a style all his own and a complete disregard for the laws of gravity. Steps in Time is Astaire`s story in his own words, a memoir as beguiling, exuberant, and enthralling as the great artist himself, the man ballet legends George Balanchine and Rudolf Nureyev cited as, hands down, the century`s greatest dancer. From his debut in vaudeville at age six through his remarkable career as the star of many of the most popular Hollywood musicals ever captured on celluloid, Steps in Time celebrates the golden age of entertainment and its royalty, as seen through the eyes of the era`s affable and adored prince. Illustrated with more than forty rare photographs from the author`s personal collection, here is Astaire in all his debonair glory - his... ISBN:9780061567568 Издательство: "Неизвестный" (2008)
ISBN: 9780061567568 |
Fred Astaire
Infobox actor
name = Fred Astaire
imagesize = 200px
caption = Astaire in "Royal Wedding" (1951)
birthname = Frederick Austerlitz
birthdate = birth date|1899|5|10|mf=y
birthplace =
deathdate = death date and age|1987|6|22|1899|5|10
deathplace =
occupation =
yearsactive = 1917-1981
spouse = Phyllis Livingston Potter
(1933-1954)
Robyn Smith
(1980-1987)
academyawards =
1950 Lifetime Achievement
emmyawards = Lead Actor - Miniseries/Movie
1958 "
1978 "
goldenglobeawards = Best Actor - Movie Musical/Comedy
1951 "Three Little Words"
1961 Lifetime Achievement
Best Supporting Actor - Motion Picture
1975 "
baftaawards = Best Supporting Actor
1974 "
awards =
1981 Lifetime Achievement
Fred Astaire (born Frederick Austerlitz; Biography 1899-1917: Early life and vaudeville career Astaire was born in After arriving in New York City, Astaire's father, hoping to find work in his trade, moved to When their father became suddenly unemployed, the family moved to New York City to launch the show business career of the children. Adele and Astaire had a teasing rivalry but fortunately they quickly acknowledged their individual strengths — his being durability and hers greater overall talent. "Astaire" was a name taken by him and his sister in 1905, when they were taking instruction in dance, speaking, and singing in preparation for developing an act. Family legend attributes it to an uncle surnamed "L'Astaire". [Thomas p.17] Finally, their first act took shape and was called "Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty." In it, Fred wore a top hat and tails in the first half and a lobster outfit in the second. The goofy act debuted in After a short time, as a result of their father's salesmanship, Fred and Adele landed a major contract and they played the famed Their career resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate Some sources [ e.g. Croce, 1st edition, 1972, footnote p.14, removed at Astaire's request in 2nd edition, 1974, - see Giles (p.24). Satchell pp.41-43 claims to have detected their presence as extras "Even with the benefit of an editing machine, slow-motion, and stop-frame, the Astaires are almost lost in the mass of bodies"] state that the Astaire siblings appeared in a 1915 film entitled "Fanchon, the Cricket", starring While on the hunt for new music and dance ideas, Fred Astaire first met Astaire was always on the lookout for new steps he spotted on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection. Finally, they broke into Broadway with "Over The Top" (1917), a patriotic revue. 1917-1933: Stage career - Broadway and London They followed up with several more shows and of their work in "The Passing Show of 1918", By this time, Astaire's dancing skill was beginning to outshine his sister's, though she still set the tone of their act and her sparkle and humor drew much of the attention, due in part to Fred's careful preparation and strong supporting choreography. During the 1920s, Fred and Adele appeared on Broadway and on the After the close of "Funny Face", the Astaires went to Hollywood for a screen test (now lost) at Paramount studios but were not considered suitable for films. They split in 1932, when Adele married her first husband, Lord Charles Cavendish, a son of the 1933-1939: Astaire and Rogers at RKO According to Hollywood folklore, a On his return to Although Astaire was initially very reluctant to become part of another dance team, he was persuaded by the obvious public appeal of the Astaire-Rogers pairing. As he wrote his agent, "I don't mind making another picture with her but as for this "team" idea it's "out!" I've just managed to live down one partnership and I don't want to be bothered with any more." [Mueller, p.8] That partnership, and the Astaire easily received the benefits of a percentage of the film's profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film. [The only other entertainer to receive this treatment at the time was Astaire is credited with two important innovations in early film musicals.rp|23,26 First, he insisted that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will."rp|420 Astaire maintained this policy from "The Gay Divorcee" (1934) onwards, until overruled by Dance commentators Mueller sums up Rogers' abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire, "Ginger had never danced with a partner before. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong." [Satchell p.127] For her part, Rogers described Astaire's uncompromising standards extending to the whole production, "Sometimes he'll think of a new line of dialogue or a new angle for the story...they never what time of night he'll call up and start ranting enthusiastically about a fresh idea...No loafing on the job on an Astaire picture, and no cutting corners." [Mueller, p.16] However, Astaire was still unwilling to have his career tied exclusively to any partnership, having already been linked to his sister Adele on stage. He even negotiated with RKO to strike out on his own with "A Damsel in Distress" in 1937, unsuccessfully as it turned out. He returned to make two more films with Rogers, "Carefree" (1938) and " 1940-1947: Drifting to an early retirement In 1939, Astaire left RKO to He made two pictures with His next partner, After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and went on to found the 1948-1957: Productive years with MGM and second retirement However, he soon returned to the big screen to replace the injured Gene Kelly in "Easter Parade" opposite During 1952 Astaire recorded " His legacy at this point was thirty musical films in twenty-five years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama "On the Beach" (1959). 1958-1981: Branching out into televised dance and straight acting Astaire did not retire from dancing completely. He made a series of four highly rated, Astaire's last major musical film was "Finian's Rainbow" (1968), in which he shed his white tie and tails to play an Irish rogue who believes if he buries a crock of gold in the shadows of Astaire continued to act into the 1970s, appearing on television as the father of Working methods and influence on filmed dance Astaire was a Astaire's execution of a dance routine was prized for its elegance, grace, originality and precision. He drew from a variety of influences, including tap and other Astaire choreographed all his own routines, usually with the assistance of other choreographers, primarily Frequently, a dance sequence was built around two or three principal ideas, sometimes inspired by his own steps or by the music itself, suggesting a particular mood or action. [Mueller, p.20] Many of his dances were built around a "gimmick", such as dancing on the walls in "Royal Wedding", that he had thought up earlier and saved for the right situation. Being a gifted lyricist, even the words of a song might suggest a dance step. [Mueller, p.20] He would spend weeks creating all the dance sequences in a secluded rehearsal space before filming would begin, incorporating his and his partner's ideas as they went along. His perfectionism was legendary; however, his relentless insistence on rehearsals and retakes was a burden to some. When time approached for the shooting of a number, Astaire would rehearse for another two weeks, and record the singing and music. With all the preparation completed, the actual shooting would go quickly, conserving costs. Astaire agonized during the entire process, frequently asking colleagues for acceptance for his work, as Although he viewed himself as an entertainer first and foremost, his consummate artistry won him the adulation of such twentieth century dance legends as Ballanchine summed Astaire's influence and talent, "He is like Bach, who in his time had a great concentration of ability, essence, knowledge, a spread of music. Astaire has that same concentration of genius." [Mueller, p.3] Influence on popular song Extremely modest about his singing abilities — he frequently claimed that he couldn't sing [e.g. Satchell, p.144] — Astaire introduced some of the most celebrated songs from the Astaire also co-introduced a number of song classics via song duets with his partners. For example, with his sister Adele, he co-introduced the Gershwins' "I'll Build a Stairway to Paradise" from "Stop Flirting" (1923), " Although he possessed a light voice, he was admired for his lyricism, diction and phrasing [ Thomas p.118 ] - the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Astaire was a songwriter of note himself, with "I'm Building Up to an Awful Letdown" - written with lyricist Awards, honors and tributes * 1938 - Invited to place his hand and foot prints in cement at Built in 1905, the Personal life Always immaculately turned out, Astaire remained something of a male fashion icon even into his later years, eschewing his trademark top hat, white tie and tails (which he always despised) in favor of a breezy casual style of tailored sports jackets, colored shirts, Astaire married for the first time in 1933, to the 25-year-old Phyllis Potter (née Phyllis Livingston Baker, 1908-1954), a Boston-born New York socialite and former wife of Eliphalet Nott Potter III (1906-1981), after pursuing her ardently for roughly two years. Potter's death from lung cancer, at the age of 46, ended 21 years of a blissful marriage and left Astaire devastated. [Niven, David: "Bring on the Empty Horses", G. Putnam 1975, p.248, 255: "The combination of Fred and Phyllis was a joy to behold...Theirs was the prototype of a gloriously happy marriage."] Consumed with grief, Astaire wanted to drop out of "Daddy Long Legs", his current project. He even made an unprecedented offer to the studio to pay all production costs to date out of his own pocket. But he ultimately decided to continue with the picture as a distraction from his grief (and also because Potter had wanted him to make it). [Billman, p. 22: "Astaire's intense professionalism — and the memory that Phyllis had wanted him to make the film — made him report back for work. The first few weeks were difficult, with most of the time being spent on Leslie's ballets and requiring as little as possible from the grieving man. Caron remembered, "Fred used to sit down during a rehearsal and put his face in his towel and just cry."] Thereafter, he remained as busy as possible. In addition to Potter's son, Eliphalet IV, known as Peter, the Astaires had two children. Fred, Jr. (born 1936) appeared with his father in the movie "Midas Run", but became a charter pilot and rancher instead of an actor. Ava Astaire McKenzie (born 1942) remains actively involved in promoting her late father's heritage. Ava continues to lecture on topics about her father today. She is married to Richard McKenzie and divides her time between London and Ireland. [ [http://www.danceonfilm.org/about/Ava_Astaire_McKenzie.html AVA ASTAIRE MCKENZIE] ] His friend Astaire died from Astaire has never been portrayed on film. [In 1986, tage, film and television work Musical films * " * " (*) performances with Ginger Rogers References Bibliography Notes External links *amg name|2:80113 Persondata Источник: Fred Astaire
last = Billman
first = Larry
title = Fred Astaire - A Bio-bibliography
publisher = Greenwood Press
date = 1997
location = Connecticut
isbn=0-313-29010-5 ] was an American
last = Astaire
first = Fred
title = Steps in Time
publisher = Heinemann
date = 1959
location = London
isbn=422937 ]
last = Mueller
first = John
title = Astaire Dancing - The Musical Films
publisher = Hamish Hamilton
date = 1986
location = London
isbn= 0-241-11749-6 ] rp|23,26,61Recently, film footage taken by
last = Croce
first = Arlene
title = The Fred Astaire and Ginger Rogers Book
publisher = W.H. Allen
date = 1972
location = London
isbn=9780810943742] rp|134
last = Hyam
first = Hannah
title = Fred and Ginger - The Astaire-Rogers Partnership 1934-1938
publisher = Pen Press Publications
date = 2007
location = Brighton
isbn=978-1-905621-96-5] rp|146,147 and Working out the steps is a very complicated process--something like writing music. You have to think of some step that flows into the next one, and the whole dance must have an integrated pattern. If the dance is right, there shouldn't be a single superfluous movement. It should build to a climax and stop!" [Mueller, p.15]
"For maybe a couple of days we wouldn't get anywhere--just stand in front of the mirror and fool around...Then suddenly I'd get an idea...So then we'd get started...You might get practically the whole idea of the routine done that day, but then you'd work on it, edit it, scramble it, and so forth. It might take sometimes as long as two, three weeks to get something going." [Mueller, p.15]
* 1950 -
* 1950 -
* 1958 -
* 1959 -
* 1960 - Nominated for
* 1960 -
* 1961 -
* 1961 - Voted Champion of Champions - Best Television performer in annual television critics and columnists poll conducted by "Television Today" and "Motion Picture Daily".
* 1965 - The George Award from the
* 1968 - Nominated for an
* 1972 - Named Musical Comedy Star of the Century by
* 1973 - Subject of a Gala by the Film Society of
* 1975 -
* 1978 -
* 1978 - Honored by the
* 1978 - First recipient of the
* 1978 - National Artist Award from the American National Theatre Association for "contributing immeasurably to the American Theatre".
* 1981 - The
* 1982 - The Anglo-American Contemporary Dance Foundation announces the Astaire Awards "to honor Fred Astaire and his sister Adele and to reward the achievement of an outstanding dancer or dancers." The awards have since been renamed The Fred and Adele Astaire Awards.
* 1987 - The Capezio Dance Shoe Award (co-awarded with
* 1989 - Posthumous award of
* 1991 - Posthumous induction into the Ballroom Dancer's Hall of Fame.
* 2000 - Ava Astaire McKenzie unveils a plaque in honor of her father, erected by the citizens of
* 2008 - Conference to honor the life and work of Fred Astaire at
* "
* "
* "Roberta" (1935) (*)
* "
* "
* "
* "Shall We Dance" (1937) (*)
* "A Damsel in Distress" (1937)
* "Carefree" (1938) (*)
* "
* "
* "
* "
* "Holiday Inn" (1942)
* "
* "
* "Ziegfeld Follies" (1946)
* "Blue Skies" (1946)
* "Easter Parade" (1948)
* "
* "Three Little Words" (1950)
* "Let's Dance" (1950)
* "
* "
* "
* "Daddy Long Legs" (1955)
* "
* "Silk Stockings" (1957)
* "Finian's Rainbow" (1968)
* "
*Astaire, Fred. "Steps in Time", 1959, OCLC|422937
*Billman, Larry. "Fred Astaire — A Bio-bibliography", Greenwood Press 1997, ISBN 0-313-29010-5
*Boyer, G. Bruce. "Fred Astaire Style", Assouline 2005, ISBN 2-84323-677-0
*Croce, Arlene. "The Fred Astaire and Ginger Rogers Book", Galahad Books 1974, ISBN 0-88365-099-1
*Crouse, Jeffrey. "Letting His Wish Provide the Occasion: Fred Astaire in "Top Hat", Film International, No. 5, 2003.
*Freeland, Michael. "Fred Astaire An Illustrated Biography", Grosset & Dunlap, 1976. ISBN 0-448-14080-2
*Giles, Sarah. "Fred Astaire — His Friends Talk", Bloomsbury, London, 1988, ISBN 0-7475-0322-2
*Green, Benny. "Fred Astaire", Bookthrift Co. 1980, ISBN 0896730182
*Green, Stanley, & Burt Goldblatt. "Starring Fred Astaire", Dodd 1973, ISBN 0-396-06877-4
*Hyam, Hannah. "Fred and Ginger — The Astaire-Rogers Partnership 1934-1938", Pen Press Publications, Brighton, 2007. ISBN 978-1-905621-96-5
*Lamparski, Richard. "Manhattan Diary". BearManor Media 2006 ISBN 1-59393-054-2
*Mueller, John. "Astaire Dancing — The Musical Films of Fred Astaire", Knopf 1985, ISBN 0-394-51654-0
*Satchell, Tim. "Astaire, The Biography." Hutchinson, London. 1987. ISBN 0-09-173736-2
*Thomas, Bob. "Astaire, the Man, The Dancer." Weidenfeld & Nicolson, London, 1985. ISBN 0-297-78402-1
*"The Astaire Family Papers", The Howard Gotleib Archival Research Center, Boston University, MA, U.S.A.
*findagrave|1624
*ibdb|30283
*imdb|0000001
*tcmdb name|6516
* [http://themave.com/Astaire/ Fred Astaire tribute site]
* [http://www.alsodances.net/biography/ Fred Astaire biography at AlsoDances.Net]
* [http://www.time.com/time/magazine/article/0,9171,964929,00.html Time.com: The Great American Flyer Fred Astaire:1899-1987]
* [http://www.time.com/time/arts/article/0,8599,265339-1,00.html Time Magazine archive: Astaire essay by Richard Corliss]
* [http://www.adherents.com/people/pa/Fred_Astaire.html Astaire's religious views incl. many extracts from his biographers]
* [http://news.bbc.co.uk/media/video/39522000/rm/_39522952_astaire08_astaire_vi.ram Ava Astaire discusses her father's legacy. (BBC Television - Realplayer required)]
* [http://www.evolver.at/stories/Fred_Astaire_In_Memoriam/ "He's in Heaven..." - In Memoriam Fred Astaire]
* [http://www.kaneprod.com/astaire/astaire.htm Radio Interview - Fred Astaire - 1968]
* [http://members.tripod.com/~npaulette/fred.htm Links to photos of Astaire]
* [http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/the_tls/article4343804.ece "Fred Astaire and the art of fun"] : an essay on the Oxford Fred Astaire conference from [http://www.the-tls.co.uk TLS] , July 16 2008.
NAME=Astaire, Fred
ALTERNATIVE NAMES=Austerlitz, Frederick (birth name)
SHORT DESCRIPTION= Dancer, actor
DATE OF BIRTH=
PLACE OF BIRTH=
DATE OF DEATH=
PLACE OF DEATH=
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