Some context: Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (; Dutch: ['pit 'mondrija:n], later ['mondrijan]; 7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality.
Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiritual pursuits, and in 1913 he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. While Mondrian was visiting the Netherlands in 1914, World War I began, forcing him to remain in there for the duration of the conflict. During this period, he stayed at the Laren artists' colony, where he met Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward abstraction. Van der Leck's use of only primary colors in his art greatly influenced Mondrian. After a meeting with Van der Leck in 1916, Mondrian wrote, "My technique which was more or less Cubist, and therefore more or less pictorial, came under the influence of his precise method." With Van Doesburg, Mondrian founded De Stijl (The Style), a journal of the De Stijl Group, in which he first published essays defining his theory, which he called neoplasticism.  Mondrian published "De Nieuwe Beelding in de schilderkunst" ("The New Plastic in Painting") in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian's best and most-often quoted expression of this theory, however, comes from a letter he wrote to H. P. Bremmer in 1914:  I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things...  I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.
Neoplasticism is what?
A: 

Some context: Stanley Donen ( DAWN-@n; born April 13, 1924) is an American film director and choreographer whose most celebrated works are Singin' in the Rain and On the Town, both of which he co-directed with actor and dancer Gene Kelly. Other noteworthy films include Royal Wedding, Seven Brides for Seven Brothers, Funny Face, Indiscreet, Damn Yankees!, Charade, and Two for the Road. He began his career in the chorus line on Broadway for director George Abbott, where he befriended Kelly.
Stanley Donen was born in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him.  Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took further dance lessons. One of his early instructors in New York was Ned Wayburn, who had taught eleven-year-old Astaire in 1910. After graduating from high school at sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role.  Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.
When did he decide to become a cheoreographer?
A:
Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer.