The Work of Women in Canadian Musical Theatre: Dancing in the Chorus

My interest is in the study of the female chorus member working in Canadian Musical Theatre. Through the body of my choreographic research, I propose to answer the following question: Who is the modern day chorus girl? My research required an investigation into the historical background of the chorus girl, with special attention given to her ongoing development and to the fascination with which the chorus girl is still viewed. I looked into well-known British, French and American groups for the time-frames indicated: The Ballet Girls (1870-1890), The CanCan Dancer (1840-1900), The Ziegfeld Follies Girls (1930-1950) and The Tiller Girls (1920-1930). This not only helped with the understanding of the development of the chorus girl but also served as an inspiration for my own choreographic research. My interest is not only in the work that these women did as professionals, but also in who they were as individuals. What was behind their pretty faces, elaborate costumes and perfectly synchronized movements? How did these women of the past influence who the chorus girl is today? Are there particular personality traits that such women possessed that ring true in todays chorus member? Through a detailed description of the three choreographic works I created (including a solo piece, group choreography, and a self-produced show), I framed my MFA research as an auto-ethnographic investigation on The Work of Women in Canadian Musical Theatre: Dancing in the Chorus.

Author dc:creator

• McCaughey, Allison

Advisor dc:contributor.advisor

• Callison, Darcey B. W.

• Dance

Statement dc:rights

• Author owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.

Language dc:language.iso

en

Handle dc:identifier.uri

http://hdl.handle.net/10315/32280

OAI identifier oai:identifier

oai:yorkspace.library.yorku.ca:10315/32280