Some other songs t… When he took the bet, she would execute a high kick that would take off his hat—and give him a quick look at her Many composers have written music for the can-can.
When the dance first appeared in the early 19th century, it was considered a scandalous and repulsive dance, similar to how A can-can dancer would sometimes stand very close to a man, and bet that she could take off his hat without using her hands. La pieza más conocida es el El cancán cristaliza la imagen de una sociedad parisina frívola y canalla, la cual es descrita caricaturalmente en Las medias negras y los portaligas toman apodos muy gráficos y con gran connotación sexual. El cancán apareció por primera vez en los salones de baile de la clase trabajadora del barrio A medida que los bailarines de cancán se volvieron más habilidosos y arriesgados, fue desarrollando gradualmente una existencia paralela como entretenimiento además de la forma participativa. El cancán simboliza allí un primer panorama de liberación sexual y emancipación de la mujer, que es ahora quien seduce. This may have been partly because in the 19th century, women wore As the dance became more popular, professional performers emerged, although it was still danced by individuals, not by a chorus line.The early can-can dancers were probably prostitutes, but by the 1890s, it was possible to earn a living as a full-time dancer and stars such as In the United States and elsewhere, the can-can achieved popularity in music halls, where it was danced by groups of women in choreographed routines. The most famous music is French composer Francis Henry Gribble, "The Origin of the Can-can" (1933), reprinted in Renée Camus, "Cancan: Blurring the Line between Social Dance and Stage Performance", in The Earl of Harewood and Antony Peattie, eds. Other examples occur in Franz Lehár's operetta The Merry Widow (1905) and Cole Porter's musical play Can-Can (1954), which in turn formed the basis for the 1960 musical film Can-Canstarring Frank Sinatra and Shirley MacLaine. This style was imported back into France in the 1920s for the benefit of tourists, and the "French Cancan" was born—a highly choreographed routine lasting ten minutes or more, with the opportunity for individuals to display their "specialities". However, the galop is actually another sort of dance. Die berühmteste Musik zum Tanz schuf Jacques Offenbach in seiner Operette Orpheus in der Unterwelt, die 1858 Premiere hatte. The can-can is believed to have evolved from the final figure in the The dance was considered scandalous, and for a while there were attempts to suppress it. Unos pocos hombres fueron estrellas del cancán entre los El cancán se baila en un compás de 2/4, y en la actualidad se suele bailar en un escenario, formando una hilera. Der Cancan ist ein schneller französischer Tanz im 2/4-Takt, der um das Jahr 1830 in Paris entstand.
The main moves are the The can-can was introduced in America on 23 December 1867 by By the 1890s the can-can was out of style in New York dance halls, having been replaced by the The can-can is now considered a part of world dance culture. La pieza más conocida es el galop infernal del compositor francés Jacques Offenbach en Orfeo en los Infiernos (1858). Un ejército de jóvenes muchachas que están allí para bailar este divino alboroto parisino, como su reputación lo exige [...] con una elasticidad cuando lanzan su pierna en el aire que nos deja predecir una flexibilidad moral al menos igual. En la Francia del Muchos compositores han escrito música para el cancán.
"Jacques Offenbach: Orphée aux Enfers", in Criterion Collection, released by United Motion Pictures, 1955. フレンチカンカン（英: French cancan ）は、ダンスの一つ。 フランス本国では単にカンカン（cancan）と呼ぶのが正当である。 1890年代に立ち返ったようなロングスカート、ペチコート、黒ストッキング等の衣装を着用した、女性ダンサーのコーラスラインが上演するショーダンス。 Many composers have written music for the can-can. Im Moulin Rouge gehört der Cancan bis heute zu den Attraktionen.
The most famous music is French composer Jacques Offenbach's Galop Infernal in his operetta Orphée aux Enfers (Orpheus in the Underworld) (1858). Often the main feature observed today is how physically demanding and tiring that the dance can be to perform, but it still retains a bawdy and suggestive element in dance culture. Muchos compositores han escrito música para el cancán.