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Paul Taylor Dance Company: Panel Discussion


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The latest Paul Taylor Dance Co. Newsletter landed in my mailbox yesterday. Featured was a transcript of the panel discussion held on closing day of the City Center season, commemorating the "golden" 50th anniversary of the company.

Fortunately, the transcript is available online. Maura Keefe moderated the panel, which consisted of:

Linda Hodes (1959 to 1961)

Carolyn Adams (1965-1982)

Lila York (1973-1985)

Ruth Andrien (1974-1983

Linda Kent (1975-1989)

David Parsons (1978-1987)

Ken Tosti (1980 to 1988)

Kate Johnson (1982-1990)

Mary Cochran (1984-1996)

David Grenke (1989-1996)

Patrick Corbin (1989-2005)

To read the transcript, you'll have to scroll down past the first item.

Mr. Grenke: I snuck into the theater at Jacob's Pillow as a student in '85, and the program they were rehearsing that evening was Roses, Last Look and Esplanade, which is a perfect program in my mind, and I remember watching a rehearsal for Last Look, sitting in the back, and just thinking, Oh my god, how do they perform that, how do you do that more than once? It's like snuff theater where you give everything and you die at the end of the performance! [Laughter] And from that moment that's what I wanted to do.
MK : What has it been like to see works that you've done and know so intimately and let go of, now performed by other dancers?

Ms. Adams: The twitching hasn't stopped.

Ms. Kent: You're dancing in your seat.

Ms. Adams: I remember my 24-count fugue in 3 Epitaphs; I was doing that. But it's exciting and thrilling, it's like being grandparents and great grandparents. It shows that the work lasts forever, but I don't think the twitching ever goes away. It's involuntary. I'm always apologizing to whoever's sitting next to me.

The newsletter also announces the retirements of Andy LeBeau and Silvia Nevjinsky :( , the second and third of this year.

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Thank you so much, carbro, for bringing this transcript to our attention! What an interesting, reminiscing, discussion.

To me, Aureole remains one of the most beautiful pieces ever choreographed. I wish Dan Wagoner had been there to add his comments.

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