For further readingBooks
Posted 18 November 2007 - 09:43 AM
Marie Rambert - Quicksilver. Rambert's memoirs give an important and personal overview of British ballet and choreographers.
Franklin Stevens - Dance as Life. Stevens spent the 1974 season writing on ABT (interesting in itself because the end was marked by Baryshnikov's defection) but also includes memories of being a student and taking class at the old Met, including with Craske and Tudor.
Nancy Reynolds - Repertory in Review. Encyclopedic on what was done at NYCB, including works byu other than Balanchine or Robbins.
Balanchine's Festival of Ballets - gives you a sense of what was in common repertory at the time.
Posted 06 December 2007 - 12:10 PM
Posted 06 December 2007 - 02:02 PM
Posted 07 December 2007 - 04:26 AM
Posted 07 December 2007 - 12:21 PM
There's lots about dancing for Ballet Society and the NYCB from 1946 to 1958.
Fisher is a professor emeritus of English at City College (NYC). This means that, while you learn much about what it was like to dance for Balanchine in his early days forming a permanent company, there's also a larger overview.
You have to love a book that begins with: "I was never supposed to become a dancer. They had me slated for a Phys-Ed instructor (at least you get a pension) .... " (Well, it's on page 3 actually ...)
Posted 17 January 2008 - 04:56 PM
Posted 17 January 2008 - 06:39 PM
Posted 20 January 2008 - 05:54 PM
Posted 20 January 2008 - 05:59 PM
With so many books to read on dancing, from historical perspectives and dancers' memoirs (I just finished "Winter Season" by Toni Bently) I need to go the library.
Posted 20 January 2008 - 07:16 PM
Joseph Mazo? He wasn't. He spent a year (or was it a season?) in the early '70s observing the company as a journalist.
Posted 20 January 2008 - 07:21 PM
Posted 22 January 2008 - 09:29 AM
Posted 22 January 2008 - 09:48 AM
One of the more controversial chapters was the one on Robbins. Some of Robbins' dancers, after the choreographer's death and around the publication of a few biographies a couple of years ago, have said that Mazo was too one-sided and harsh in his description. This might be the case, but it might also reflect maturation and the way memories change, especially since the dearth of choreographic genius they've worked with since, however irascible he might have been.
I see the same tendency in changing attitudes towards Nureyev's tenure as AD of Paris Opera Ballet.
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