Wilhelm Gottfried „Willy“ Astor (* 6. September in München) ist ein deutscher Kabarettist, Musiker und Komponist. Inhaltsverzeichnis. 1 Leben; 2. Fred Astor, Actor: Laßt Blumen sprechen! - Ein musikalischer Herbststrauß. Fred Astor is an actor, known for Laßt Blumen sprechen! - Ein musikalischer. Willy Astor - „Albernheit verhindert den Ernst der Lage!“ – Ganz nach diesem Motto versteht es Willy Astor bestens die Zwerchfelle seiner Fans zu strapazieren.
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Fred Astor Navigation menu VideoFred Astaire \u0026 Ginger Rogers - Swing Time
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Astaire was always on the lookout for new steps on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection.
The Astaires broke into Broadway in with Over the Top , a patriotic revue, and performed for U. They followed up with several more shows.
Of their work in The Passing Show of , Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance.
Adele's sparkle and humor drew much of the attention, owing in part to Fred's careful preparation and sharp supporting choreography. She still set the tone of their act.
But by this time, Astaire's dancing skill was beginning to outshine his sister's. During the s, Fred and Adele appeared on Broadway and the London stage.
They won popular acclaim with the theater crowd on both sides of the Atlantic in shows such as Jerome Kern 's The Bunch and Judy , George and Ira Gershwin 's Lady, Be Good , and Funny Face and later in The Band Wagon Astaire's tap dancing was recognized by then as among the best.
For example, Robert Benchley wrote in , "I don't think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world.
After the close of Funny Face , the Astaires went to Hollywood for a screen test now lost at Paramount Pictures , but Paramount deemed them unsuitable for films.
They split in when Adele married her first husband, Lord Charles Cavendish , the second son of the 9th Duke of Devonshire.
Fred went on to achieve success on his own on Broadway and in London with Gay Divorce later made into the film The Gay Divorcee while considering offers from Hollywood.
The end of the partnership was traumatic for Astaire but stimulated him to expand his range. Free of the brother-sister constraints of the former pairing and working with new partner Claire Luce , Fred created a romantic partnered dance to Cole Porter 's " Night and Day ," which had been written for Gay Divorce.
Luce stated that she had to encourage him to take a more romantic approach: "Come on, Fred, I'm not your sister, you know. According to Hollywood folklore, a screen test report on Astaire for RKO Radio Pictures , now lost along with the test, is reported to have read: "Can't sing.
Can't act. Can dance a little. Berman , claimed he had never heard the story in the s and that it only emerged years afterward.
Slightly bald. Also dances. Selznick , who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test.
However, this did not affect RKO's plans for Astaire. They lent him for a few days to MGM in for his significant Hollywood debut in the successful musical film Dancing Lady.
In the movie, he appeared as himself dancing with Joan Crawford. In a review, Variety magazine attributed its massive success to Astaire's presence:.
The main point of Flying Down to Rio is the screen promise of Fred Astaire He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself.
The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing.
Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!
The partnership, and the choreography of Astaire and Hermes Pan , helped make dancing an important element of the Hollywood film musical. Astaire and Rogers made nine films together at RKO.
These included The Gay Divorcee , Roberta , in which Astaire also demonstrates his oft-overlooked piano skills with a spirited solo on "I Won't Dance" , Top Hat , Follow the Fleet , Swing Time , Shall We Dance , and Carefree Six out of the nine Astaire—Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time.
Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex appeal.
Astaire revolutionized dance on film by having complete autonomy over its presentation. This gave the illusion of an almost stationary camera filming an entire dance in a single shot.
Astaire famously quipped: "Either the camera will dance, or I will. Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety.
This style differed strikingly from those in the Busby Berkeley musicals. Those musicals' sequences were filled with extravagant aerial shots, dozens of cuts for quick takes, and zooms on areas of the body such as a chorus row of arms or legs.
Astaire's second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film.
Instead of using dance as a spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include at least three standard dances.
One would be a solo performance by Astaire, which he termed his "sock solo. Finally, he would include a partnered romantic dance routine. Dance commentators Arlene Croce ,  : 6 Hannah Hyam  : — and John Mueller  : 8,9 consider Rogers to have been Astaire's greatest dance partner, a view shared  by Hermes Pan and Stanley Donen.
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 According to Astaire, "Ginger had never danced with a partner before Flying Down to Rio.
She faked it an awful lot. She couldn't tap and she couldn't do this and that She got so that after a while everyone else who danced with me looked wrong.
She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success. In , British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson.
At first, Astaire refused to answer. But, ultimately, he said "Excuse me, I must say Ginger was certainly, uh, uh, the one. You know, the most effective partner I had.
Everyone knows. 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 No loafing on the job on an Astaire picture, and no cutting corners.
Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership. He negotiated with RKO to strike out on his own with A Damsel in Distress in with an inexperienced, non-dancing Joan Fontaine , unsuccessfully as it turned out.
He returned to make two more films with Rogers, Carefree and The Story of Vernon and Irene Castle While both films earned respectable gross incomes, they both lost money because of increased production costs,  : and Astaire left RKO, after being labeled " box office poison " by the Independent Theatre Owners of America.
Astaire was reunited with Rogers in at MGM for their final outing, The Barkleys of Broadway , the only one of their films together to be shot in Technicolor.
Astaire left RKO in to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators.
Unlike the s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers to innovate continually. His first post-Ginger dance partner was the redoubtable Eleanor Powell , considered the most exceptional female tap-dancer of her generation.
They starred in Broadway Melody of , in which they performed a celebrated extended dance routine to Cole Porter's " Begin the Beguine. She really knocked out a tap dance in a class by herself.
He played alongside Bing Crosby in Holiday Inn and later Blue Skies But, in spite of the enormous financial success of both, he was reportedly dissatisfied with roles where he lost the girl to Crosby.
The former film is memorable for his virtuoso solo dance to "Let's Say it with Firecrackers". The latter film featured " Puttin' On the Ritz ", an innovative song-and-dance routine indelibly associated with him.
Other partners during this period included Paulette Goddard in Second Chorus , in which he dance-conducted the Artie Shaw orchestra. He made two pictures with Rita Hayworth.
The first film, You'll Never Get Rich , catapulted Hayworth to stardom. In the movie, Astaire integrated for the third time Latin American dance idioms into his style the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle His second film with Hayworth, You Were Never Lovelier , was equally successful.
It featured a duet to Kern's " I'm Old Fashioned ," which became the centerpiece of Jerome Robbins 's New York City Ballet tribute to Astaire.
He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit In it, he introduced Arlen and Mercer 's " One for My Baby " while dancing on a bar counter in a dark and troubled routine.
Astaire choreographed this film alone and achieved modest box office success. It represented a notable departure for Astaire from his usual charming, happy-go-lucky screen persona, and confused contemporary critics.
While Follies was a hit, Yolanda bombed at the box office. He nominated "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in , Astaire concentrated on his horse-racing interests and in founded the Fred Astaire Dance Studios , which he subsequently sold in Astaire's retirement did not last long.
Astaire returned to the big screen to replace an injured Kelly in Easter Parade opposite Judy Garland , Ann Miller , and Peter Lawford. He followed up with a final reunion with Rogers replacing Judy Garland in The Barkleys of Broadway Both of these films revived Astaire's popularity and in he starred in two musicals.
Three Little Words with Vera-Ellen and Red Skelton was for MGM. Let's Dance with Betty Hutton was on loan-out to Paramount. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Royal Wedding with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York with Vera-Ellen was a critical and box-office disaster.
The Band Wagon received rave reviews from critics and drew huge crowds. But because of its high cost, it failed to make a profit on its first release.
Soon after, Astaire, like the other remaining stars at MGM, was let go from his contract because of the advent of television and the downsizing of film production.
In , Astaire was about to start work on a new musical, Daddy Long Legs with Leslie Caron at 20th Century Fox. Then, his wife Phyllis became ill and suddenly died of lung cancer.
Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his pocket. However, Johnny Mercer , the film's composer, and Fox studio executives convinced him that work would be the best thing for him.
Daddy Long Legs only did moderately well at the box office. His next film for Paramount, Funny Face , teamed him with Audrey Hepburn and Kay Thompson.
Despite the sumptuousness of the production and the good reviews from critics, it failed to make back its cost. Similarly, Astaire's next project — his final musical at MGM, Silk Stockings , in which he co-starred with Cyd Charisse , also lost money at the box office.
Afterward, Astaire announced that he was retiring from dancing in film. His legacy at this point was 30 musical films in 25 years. Astaire did not retire from dancing altogether.
He made a series of four highly rated Emmy Award -winning musical specials for television in , , , and Each featured Barrie Chase , with whom Astaire enjoyed a renewed period of dance creativity.
The first of these programs, 's An Evening with Fred Astaire , won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year.
Astaire won the Emmy for Best Single Performance by an Actor. The choice had a controversial backlash because many believed his dancing in the special was not the type of "acting" for which the award was designed.
At one point, Astaire offered to return the award, but the Television Academy refused to consider it. A restoration of the program won a technical Emmy in for Ed Reitan, Don Kent, and Dan Einstein.
They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage.
Astaire played Julian Osborne, a non-dancing character, in the nuclear war drama On the Beach He was nominated for a Golden Globe Best Supporting Actor award for his performance, losing to Stephen Boyd in Ben-Hur.
Astaire appeared in non-dancing roles in three other films and several television series from to Astaire's last major musical film was Finian's Rainbow , directed by Francis Ford Coppola.
Astaire shed his white tie and tails to play an Irish rogue who believes that if he buries a crock of gold in the shadows of Fort Knox the gold will multiply.
Astaire's dance partner was Petula Clark , who played his character's skeptical daughter. He described himself as nervous about singing with her, while she said she was worried about dancing with him.
The film was a modest success both at the box office and among critics. Astaire continued to act in the s. He appeared on television as the father of Robert Wagner 's character, Alexander Mundy, in It Takes a Thief.
In the movie The Towering Inferno , he danced with Jennifer Jones and received his only Academy Award nomination, in the category of Best Supporting Actor.
He voiced the mailman narrator S. D Kluger in the s animated television specials Santa Claus Is Comin' to Town and The Easter Bunny Is Comin' to Town.
Astaire also appeared in the first two That's Entertainment! In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film.
In the summer of , he made three albums in London, Attitude Dancing , They Can't Take These Away from Me , and A Couple of Song and Dance Men , the last an album of duets with Bing Crosby.
In , Astaire played a supporting role, as a dog owner, in the cult movie The Amazing Dobermans , co-starring Barbara Eden and James Franciscus , and played Dr.
Seamus Scully in the French film The Purple Taxi In , he co-starred with Helen Hayes in a well received television film A Family Upside Down in which they played an elderly couple coping with failing health.
Astaire won an Emmy Award for his performance. He made a well publicized guest appearance on the science-fiction television series Battlestar Galactica in , as Chameleon, the possible father of Starbuck , in "The Man with Nine Lives," a role written for him by Donald P.
Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series and the producers were delighted at the opportunity to create an entire episode to feature him.
This episode marked the final time that he danced on screen, in this case with Anne Jeffreys. He acted nine different roles in The Man in the Santa Claus Suit in His final film role was the adaptation of Peter Straub 's novel Ghost Story.
This horror film was also the last for two of his most prominent castmates, Melvyn Douglas and Douglas Fairbanks Jr.
Astaire was a virtuoso dancer, able when called for to convey light-hearted venturesomeness or deep emotion. His technical control and sense of rhythm were astonishing.
Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the feature The Belle of New York , it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was reshot.
The documentary That's Entertainment! III shows the two performances side by side in split screen. Frame for frame, the two performances are identical, down to the subtlest gesture.
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 black rhythms, classical dance, and the elevated style of Vernon and Irene Castle.
His was a uniquely recognizable dance style which greatly influenced the American Smooth style of ballroom dance and set standards against which subsequent film dance musicals would be judged.
He termed his eclectic approach "outlaw style," an unpredictable and instinctive blending of personal artistry.
His dances are economical yet endlessly nuanced. As Jerome Robbins stated, "Astaire's dancing looks so simple, so disarming, so easy, yet the understructure, the way he sets the steps on, over or against the music, is so surprising and inventive.
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! Although Astaire was the primary choreographer of all his dance routines, he welcomed the input of collaborators and notably his principal collaborator Hermes Pan.
But dance historian John Mueller believes that Astaire acted as the lead choreographer in his solos and partnered dances throughout his career.
He notes Astaire's dance style was consistent in subsequent films made with or without the assistance of Pan. Furthermore, Astaire choreographed all the routines during his Broadway career with his sister Adele.
Later in his career, he became a little more amenable to accepting the direction of his collaborators. However, this was almost always confined to the area of extended fantasy sequences, or "dream ballets".
Occasionally Astaire took joint screen credit for choreography or dance direction, but he usually left the screen credit to his collaborator.
This can lead to the completely misleading impression that Astaire merely performed the choreography of others. Later in life, he admitted, "I had to do most of it myself.
Frequently, a dance sequence was built around two or three key ideas, sometimes inspired by his steps or by the music itself, suggesting a particular mood or action.
He or his collaborator would think of these routines earlier and save them for the right situation. They would spend weeks creating all the dance sequences in a secluded rehearsal space before filming would begin.
They would work with a rehearsal pianist often the composer Hal Borne who in turn would communicate modifications to the musical orchestrators.
His perfectionism was legendary, but 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 process, frequently asking colleagues for acceptance for his work. As Vincente Minnelli stated, "He lacks confidence to the most enormous degree of all the people in the world.
He will not even go to see his rushes He always thinks he is no good. Still it's never as bad as I think it is. Michael Kidd , Astaire's co-choreographer on the film The Band Wagon , found that his own concern about the emotional motivation behind the dance was not shared by Astaire.
Kidd later recounted: "Technique was important to him. He'd say, 'Let's do the steps. Let's add the looks later.
Although he viewed himself primarily as an entertainer, his artistry won him the admiration of twentieth century dancers such as Gene Kelly , George Balanchine , the Nicholas Brothers , Mikhail Baryshnikov , Margot Fonteyn , Bob Fosse , Gregory Hines , Rudolf Nureyev , Michael Jackson , and Bill Robinson.
Balanchine compared him to Bach , describing him as " the most interesting, the most inventive, the most elegant dancer of our times ," while for Baryshnikov he was " a genius Extremely modest about his singing abilities he frequently claimed that he could not sing,  but the critics rated him as among the finest , Astaire introduced some of the most celebrated songs from the Great American Songbook , in particular, Cole Porter's: " Night and Day " in Gay Divorce ; " So Near and Yet So Far " in You'll Never Get Rich ; Irving Berlin 's " Isn't This a Lovely Day?
He first presented Jerome Kern 's " The Way You Look Tonight " in Swing Time , the Gershwins' " They Can't Take That Away from Me " in Shall We Dance , " A Foggy Day " and " Nice Work if You Can Get it " in A Damsel in Distress , Johnny Mercer 's " One for My Baby " from The Sky's the Limit , " Something's Gotta Give " from Daddy Long Legs ; and Harry Warren and Arthur Freed 's " This Heart of Mine " from Ziegfeld Follies 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 , " Fascinating Rhythm " in Lady, Be Good , " Funny Face " in Funny Face , and, in duets with Ginger Rogers , he presented Irving Berlin 's " I'm Putting All My Eggs in One Basket " in Follow the Fleet , Jerome Kern 's " Pick Yourself Up " and " A Fine Romance " in Swing Time , along with the Gershwins ' " Let's Call the Whole Thing Off " from Shall We Dance With Judy Garland , he sang Irving Berlin 's " A Couple of Swells " from Easter Parade ; and, with Jack Buchanan , Oscar Levant , and Nanette Fabray he delivered Arthur Schwartz 's and Howard Dietz 's " That's Entertainment!
Although he possessed a light voice, he was admired for his lyricism, diction, and phrasing  —the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane to describe him as "the world's greatest musical performer.
And while George Gershwin was somewhat critical of Astaire's singing abilities, he wrote many of his most memorable songs for him.
Astaire was a songwriter, with "I'm Building Up to an Awful Letdown" written with lyricist Johnny Mercer reaching number four in the Hit parade of During , Astaire recorded The Astaire Story , a four-volume album with a quintet led by Oscar Peterson.
The album, produced by Norman Granz , provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in , a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance.
Always immaculately turned out, he and Cary Grant were called "the best dressed actor[s] in American movies. Astaire married year-old Phyllis Potter in formerly Phyllis Livingston Baker [—] , a Boston -born New York socialite and former wife of Eliphalet Nott Potter III — , despite his mother's and sister's objections.
In addition to Phyllis Potter's son, Eliphalet IV known as Peter , the Astaires had two children. The Astaires' son Fred Jr.
The Astaires' daughter Ava Astaire — remains involved in promoting her father's legacy. Intensely private, Fred Astaire was rarely seen on the Hollywood social scene.
Some of his most famous musicals from his later career include Easter Parade with Garland and Funny Face with Hepburn. As his movie roles tapered off, Astaire worked more in television.
He often appeared as himself for special tribute shows. Astaire had a growing interest in dramatic parts, working on such series as Dr. He also worked with another legendary dancer, Gene Kelly, on the documentary That's Entertainment , which explored the golden era of the movie musical.
Around this time, Astaire received his only Academy Award nomination for his supporting role in the disaster film The Towering Inferno.
He also won an Emmy Award for his work on the television special A Family Upside Down in More accolades soon followed. Astaire received a Lifetime Achievement Award from the American Film Institute in A few years later, Astaire was hospitalized for pneumonia.
He died on June 22, , in Los Angeles, California. With his passing, Hollywood had lost one of its greatest talents.
Former actor and president Ronald Reagan , upon learning the news, called Astaire "an American legend" and "the ultimate dancer.
Off-screen, Astaire was more casual than his upper-crust characters. He was devoted to his family. Astaire and his first wife, socialite Phyllis Baker Potter, married in and had two children together, Fred Jr.
He also helped raise her son from an earlier union. Fred and Phyllis remained a couple until her death in Astaire shocked friends and family when he remarried in His second wife was Robyn Smith, a famous jockey.
Despite a more than year age difference, the pair's mutual interest in horses and racing turned into romance. After his death in , his widow has been a fierce protector of his name and image.
She has filed numerous lawsuits to prevent any unauthorized uses of his likeness or name. In , however, she granted permission for film clips of Astaire to be changed and used for a series of vacuum cleaner commercials.
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Gene Kelly was a dancer whose athletic style transformed the movie musical and did much to change the American public's conception of male dancers.4/28/ · Fred Astaire was an American dancer of stage and film who is best known for a number of successful musical comedy films in which he starred with Ginger Rogers. View fred Astor’s profile on LinkedIn, the world's largest professional community. fred has 1 job listed on their profile. See the complete profile on LinkedIn and discover fred’s connections Title: manager sales at BASF. Créée par le célèbre footballeur Fred Aston, la boutique reste fidèle à ses valeurs et propose une sélection des meilleurs articles et marques tendances de la mode urbaine. Tous les styles et toutes les marques sont chez Fred Aston, et parfois uniquement chez Fred Aston ;).