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EDWARD GOREY, BALLETOMANEAuthor writing Gorey biography seeks your Gorey stories


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#16 Helene

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Posted 10 October 2012 - 06:58 AM

I suspect the answer to that will span several chapters :)

#17 Mark Dery

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Posted 10 October 2012 - 07:07 AM

AlbanyGirl:

[font=georgia,serif][size=5]See posts #61-#63 in "Remembering Patricia McBride." If you want to delve deeper, see Gorey's remarks on the subject in the ballet-related interviews, especially Tobi Tobias's for Dance magazine (I believe it's Dance) in Ascending Peculiarity, a collection of interviews with Gorey.[/size][/font]

#18 bart

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Posted 10 October 2012 - 01:47 PM

Wouldn't it have been an extraordinary privilege to be sitting in one of those chairs with Balanchine, Danilova, and all those others? It's interesting how much Leo Lerman and Gorey look alike, superficially, in this photo. I wonder how many "Gorey sightings" around Lincoln Center might actually have been "Lerman sightings."

For those who don't have access to Ascending Peculiarity: Edward Gorey on Edward Gorey, here the the answer to AlbanyGirl's question as regards to "favorite ballerina." The year is 1974.

... currently, Patty McBride is surely the greatest dancer in the world. Of course, my favorite dancer of all times is Diana Adams. ... If I had to name the single greatest performance I ever saw, I'd say sit was Diana rehearsing Swan Lake. She had no make-up on and a ratty old whtatever dancers rehearse in, and she was chewing gum, and she walked through half of it, but it suddenly had all the qualities ...She was the kind of person who could extend herself on stage; her dancing made evereyone else's look great..


Allegra Kent's Sugar Plum Fairy moved Gorey to tears on at least one occasion.

She has this incredible kind of fragility and an uncanny ability to make the choreography meaningful. But she doesn't always work the way she should, I am afraid.

Gorey loved Farrell ... at first ...

And then she developed that repertoire of mannerisms. Of course, technically she could do anything, but she was often extraordinarily opaque about getting the meaning of the choreograph across. Too bad she's off in Bejart, doing her penches into eternity. You know, I've always believed that the dancers who came off luckiest with Balanchine were the ones he was not totally obsessed with.

A lot of people agreed with him on all these points.

Gorey claims to have watched the Balanchine Swan Lake (Act II and IV) over a hundred times. I can believe it. Swan Lake was performed very, very frequently.. My second-favorite cartoon in The Lavender Leotard shows two children looking at those long lists convering an entire NYCB season. "There are twenty-seven Swan Lakes this season, but only twenty-one Firebirds." Very true, for certain years.

#19 Mark Dery

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Posted 12 October 2012 - 06:26 AM

[font=georgia,serif][size=4]Thanks so much for posting, Bart; wonderful stuff. And your comments frame Gorey's in an illuminating way.[/size][/font]

#20 AlbanyGirl

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Posted 15 October 2012 - 01:54 PM

I haven't been on in several days - Thank you, Mark, for pointing me in the direction of Gorey's interviews.

#21 AlbanyGirl

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Posted 15 October 2012 - 02:01 PM

And thank you, Bart, for your comments. I think Diana Adams had the most beautiful legs - that photo of her in arabesque (or was it attitude) where Stravinsky said her legs looked like the Soligen scissors ad or something like that (my library is way upstairs and my cat Ollie is sitting on my lap, otherwise I'd go upstairs and check my source, which I believe is Taper's bio of Mr B.) I saw alot of Patricia McBride at SPAC and she was just wonderful. She was my first Titania. I never saw Allegra dance (too young),but I think her vulnerability is always apparent in her dancing when I look at video clips and photos).

#22 ViolinConcerto

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Posted 23 October 2012 - 06:49 PM

Mr. Dery, thank you for the link to the biography of Mr. Kirstein and the fabulous photos. I noticed what I think is an error in Duberman's text. On page 611 or 612 there is a description of the wonderful celebration for Mr. Kirstein's 80th birthday. Duberman states that it opened with the orchestra playing "Swan Lake. My memory is that they opened with the Overture from "Sleeping Beauty, which was Peter Martins' way of telling us all that the Company was going to produce that ballet.

Any one else remember???

#23 Mark Dery

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Posted 12 November 2012 - 12:07 PM

[font=georgia,serif][size=5]My pleasure, and thanks for the correction; good to know. [/size][/font]


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