[[quoteright:349:http://static.tvtropes.org/pmwiki/pub/images/fosse_b_pic2_7485.jpg]]

Bob Fosse (June 23, 1927 -- September 23, 1987) was an American Broadway choreographer. He won eight Tony awards for choreography during his lifetime. He was also nominated for four Academy Awards, winning one for directing ''Film/{{Cabaret}}''. (As a matter of fact, he is the only director to have won a Tony (for ''Theatre/{{Pippin}}''), an Emmy (for ''Liza with a Z''), and an Oscar (for ''Cabaret'') '''in the same year'''. Known for his innovative choreography and use of subtext in his dances.

Productions he choreographed include ''Theatre/ThePajamaGame'', ''Theatre/DamnYankees'', and ''Theatre/HowToSucceedInBusinessWithoutReallyTrying''. Productions he both directed and choreographed include ''Theatre/SweetCharity'', ''Theatre/{{Pippin}}'' (on which he also did some uncredited work on the script), and ''Theatre/{{Chicago}}''.

He appeared in the film versions of ''Theatre/KissMeKate'', ''Theatre/DamnYankees'' and ''The Little Prince''.

His film ''Film/AllThatJazz'' (1979) is a semi-autobiographical look at his life and relationships. ''Fosse'', a musical revue featuring his most famous dances, won the Tony award for Best Musical in 1999.

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[[folder: List of Works]]
[[AC: Theatre Work:]]
* [[AC: Choreographer:]]
** ''Theatre/ThePajamaGame''
** ''Theatre/DamnYankees''
** ''Theatre/BellsAreRinging''
** ''Theatre/NewGirlInTown''
** ''{{Theatre/Redhead}}''
** ''Theatre/HowToSucceedInBusinessWithoutReallyTrying''
** ''Theatre/LittleMe''
** ''Theatre/PleasuresAndPalaces''
** ''Theatre/SweetCharity''
** ''{{Theatre/Pippin}}''
** ''{{Theatre/Chicago}}''
** ''{{Theatre/Dancin}}''
** ''Theatre/BigDeal''

* [[AC: Director:]]
** ''Theatre/LittleMe''
** ''Theatre/PleasuresAndPalaces''
** ''Theatre/SweetCharity''
** ''{{Theatre/Pippin}}''
** ''{{Theatre/Chicago}}''
** ''{{Theatre/Dancin}}''
** ''Theatre/BigDeal''

* [[AC: Librettist:]]
** ''{{Theatre/Pippin}}'' - uncredited
** ''{{Theatre/Chicago}}''
** ''Theatre/BigDeal''

* [[AC: Actor:]]
** ''Theatre/PalJoey'' - Joey

[[AC: Film/Television Work:]]
* [[AC: Director:]]
** ''Film/SweetCharity''
** ''{{Film/Cabaret}}''
** ''Liza With a Z''
** ''{{Film/Lenny}}''
** ''Film/AllThatJazz''
** ''Film/Star80''

* [[AC: Screenwriter:]]
** ''Film/AllThatJazz''
** ''Film/Star80''

* [[AC: Choreographer:]]
** ''Film/WhiteChristmas'' - uncredited
** ''Film/ThePajamaParty''
** ''Film/DamnYankees''
** ''Film/SweetCharity''
** ''{{Film/Cabaret}}''
** ''Film/TheLittlePrince''
** ''Film/AllThatJazz''

* [[AC: Actor:]]
** ''Series/TheAffairsOfDobieGillis''
** ''Film/KissMeKate''
** ''Film/TheLittlePrince'' - The Snake
[[/folder]]

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!!Tropes associated with Bob Fosse include:

* AllMusicalsAreAdaptations[=/=]ScreenToStageAdaptation:
** ''Sweet Charity'' is based on Creator/FedericoFellini's ''Film/NightsOfCabiria'' (and subsequently, Fosse brought his version to the screen).
** ''Cabaret'' was adapted from the stage musical, itself based on a set of short stories by Christopher Isherwood (collected in ''Goodbye To Berlin''), as well as ''I Am A Camera'', a 1951 play inspired by the ''Berlin'' stories.
** ''Chicago'' is based on the 1924 nonmusical play by Maurine Dallas Watkins of the same name.
** ''Big Deal'' is based on Mario Monicelli’s crime-comedy ''Big Deal On Madonna Street.''
** ''Dancin’'', while not an direct adaptation, is more of a {{Pastiche}} of various dance styles Fosse was influenced by over the years.
* AuthorAppeal:
** His dances were often sexual and comical in nature, owing much to the cabarets of his youth. They had elements like turned-in knees, rolled-in shoulders, sideways shuffling, hip thrusts and jazz hands.
** He freely mixed styles of dance, from overtly broad movements to tiny, intricate jerks of the body.
** He also used white gloves, derbies and chairs as often as he could.
** As a storyteller, he often focused on those who try to become greater than themselves, usually through artistic achievement, entertainment or fame-seeking. They examine the foibles of the human condition and society as a whole, more often than not cynically. He’ll keep the audience entertained before giving them some severe MoodWhiplash somewhere down the line.
* AuthorAvatar: Joe Gideon from ''All That Jazz'' is the most blatant example, but Fosse asserted that the majority of his heroes were extensions of himself.
* {{Biopic}}: Both of his non-musical films were biopics, both relating to artists and the struggle between fame and their art.
* BlackComedy: His sense of humor is this through and through, with some snarking tendencies on top.
* BreakingTheFourthWall: A ton of his works certainly lean on it, but ''Pippin'' balls-out demolishes the damn wall.
* TheCasanova: The sheer quantity of women Fosse had slept with in his life (including near the end) could rival that of any rocker in their heyday.
* CopiouslyCreditedCreator: He was a director, writer, choreographer, producer and occasional actor for film, theatre and television, often with multiple productions going on at once.
* DiegeticMusic: One of his big innovations for the movie musical were that the musical numbers were always in a different reality or venue from the “real world” of the film, whether that be through the Kit Kat Klub in ''Cabaret'' or as seen through [[ImagineSpot imagine spots]] in ''All That Jazz.''
* GlorySeeker: The main hallmark of a Fosse hero. Fosse himself is a major example, as throughout his life, as he always felt the need to top whatever he did before him.
* IconicItem: The derbies and white gloves, with the chair at a close second.
* ItalianFilms: ''Sweet Charity'' and ''Big Deal'' are adaptations of Italian classics, while ''All That Jazz'' owes a great deal to Fellini's ''Film/EightAndAHalf'', to the point where he got the former's regular cinematographer to work on the film.
* MoodWhiplash: One of his very favorite tricks. You can never go into a Fosse production without having the rug pulled from under you emotionally.
* TheMusical: His bread and butter.
* ThePerfectionist: Fosse was constantly reworking and refining his productions to the finest detail. The precision of the editing, the wrinkle on a fabric, even the position of a finger didn’t go unnoticed by his eye.
* SelfDeprecation: ''All That Jazz'' is practically a masterclass in self-flagellation.
* SlidingScaleOfIdealismVsCynicism: Fosse’s work got increasingly cynical as time went on, but often had occasional glimmers of optimism.
* TrueArtIsAngsty: Often veers into this.
* {{Vaudeville}}: A major influence on the Fosse style, as his dances were filled with the pratfalls, double-takes and slapsticky qualities of the medium.
* WorkHardPlayHard: A workaholic throughout his life, Fosse would supplement his meticulous work schedule with hardcore, party lifestyle included more booze, sex and pills than most people would get in a lifetime.

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