DOCSLIB.ORG

Collection of Dance Programs, 1890-1990

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

http://oac.cdlib.org/findaid/ark:/13030/ft200001h8 No online items Finding Aid for the Collection of Dance Programs, 1890-1990 Processed by UCLA Library Special Collections staff; additions processed by Lilace Hatayama, 2012; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2002 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 866 1 Dance Programs, 1890-1990 Descriptive Summary Title: Collection of Dance Programs, Date (inclusive): 1890-1990 Collection number: 866 Extent: 28 boxes (14.0 linear ft.) 1 oversize box Abstract: Collection consists of some 1000 twentieth-century dance programs, primarily American, but many for foreign dance companies on tour in the U.S. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Collection of Dance Programs (Collection 866). Department of Special Collections, Charles E. Young Research Library, UCLA. UCLA Catalog Record ID UCLA Catalog Record ID: 4232723 Scope and Content Collection consists of some 1000 twentieth-century dance programs, primarily American, but many for foreign dance companies on tour in the U.S. Includes programs for Anna Pavlova, Ruth St. Denis and Ted Shawn, George Balachine, Martha Graham, Folies-Bergère, the Bolshoi Ballet, New York City Ballet, San Francisco Opera Ballet, Ballet Russe de Monte Carlo, and Ballet Theater. Indexing Terms The following terms have been used to index the description of this collection in the library's online public access catalog. Subjects Dance. Ballet. Genres and Forms of Material Programs. Chronological Index Box 1 Actor's Fund Fare. 1892. Box 1 New York Hippodrome (also ). 1908, 1910, 1911, 1914, 1916 1918, 1919, 1923, 1935 Physical Description: 9 programs. Box 1 Isadora Duncan and Isadora Duncan Dancers. 1909-1929. Physical Description: 9 programs. Box 1 Adeline Genee. 1910. Box 1 Gertrud Hoffman. 1911. Box 1 Imperial Russian Ballet; Mikhail Mordkin, choreographer. 1911. Finding Aid for the Collection of 866 2 Dance Programs, 1890-1990 Chronological Index Box 1 Gertrud Hoffman, Mme. Polaire, Lady Richardson. 1913. Box 1 Anna Pavlova. 1914. Box 1 Anna Pavlova. 1915. Box 1 Mr. and Mrs. Vernon Castle. 1915. Box 1 Actor's Fund. 1915. Box 1 Boston Grand Opera Company. 1915-1916. Box 1 Serge de Diiaghileff's Ballet Russe. 1916. Physical Description: 3 programs. Box 1 Charles Dillingham and Florenz Ziegfeld Jr. 1917. Box 2 Anna Pavlova. 1920-1921. Box 2 M. Leon Bakst. The Sleeping Princess. 1921. Physical Description: 1 program. Box 2 Theatre de la Chauve Souris. 1921. Box 2 Nazimova's Ballet Salome. 1921. Physical Description: 3 photo reproductions of costumes. Box 2 Ruth St. Denis and Ted Shawn. 1923. Box 2 Anna Pavlova: The Dumb Girl of Portici and 2 dance programs. 1924-1925. Box 2 Ruth St. Denis and Ted Shawn. Denishawn Magazine. 1924. Box 2 The Eurythmic Ritual. 1924. Box 2 Empire Theater. 1926. Box 2 Metropolitan Opera. 1926. Physical Description: 3 programs. Box 2 Mikhail Mordkin. 1926. Physical Description: 2 signed copies. Box 2 (?): Raquel Meller. 1926 Box 2 George Balanchine. 1927. Box 2 Ruth St. Denis and Ted Shawn. 1927. Box 2 Balief's Chauve-Souris. Bat Theatre, Moscow. 1927. Box 2 Senia Russakoff. 1927. Box 2 Adolf Bolm Ballet. 1927. Box 2 Noche de Plata. 1928. Box 2 Ziegfeld Theatre. 1928. Box 2 Tilly Losch and Harald Kreutzberg. 1928. Box 2 Ziegfeld Follies with Ruth St. Denis and Ted Shawn. 1928. Box 2 Albertina Rasch. 1928. Box 2 La Argentina. 1928-1929. Box 2 Harald Kreuzberg and Yvonne Georgi. 1929. Box 2 Michio Ito. 1929. Physical Description: 2 programs. Box 2 Madame Ida Rubenstein. 1929. Box 2 Ballet Russe de Serge de Diaghilev. 1929. Box 2 Mary Wigman. 1930. Box 2 Marie Rambert Dancers with Tamara Karsavina. 1930. Box 2 Mei Lang-Fang. 1930. Box 2 Mei Lang-Fang. Chinese Drama. A short description. 1931. Box 2 Ziegfeld Follies. 1931. Box 2 La Argentina. Box 2 The Dancers' Club. 1932. Box 2 Mary Wigman. Box 2 Ballet Joos. 1933. Finding Aid for the Collection of 866 3 Dance Programs, 1890-1990 Chronological Index Box 2 Ballet Russe. 1933. Physical Description: 5 programs. Box 2 Uday Shankar. 1933. Physical Description: 2 programs. Box 2 Vincente Escudero. 1933. Box 2 Ballet Russe de Monte Carlo. 1933. Physical Description: 2 programs. Box 2 Ballet Russe. 1934. Physical Description: 2 leaf programs. Box 2 Ballet Russe. 1934. Physical Description: 5 illustrated programs. Box 2 Asadata Dafora: Kykunkor. 1934. Box 2 Lucienne Boyer in Continental Varieties, with Vicente Escudero. 1934. Box 2 Ted Shawn and his Men Dancers. 1934. Box 2 Beaux Arts Ball: Marco Polo, with Ruth St. Denis. 1934. Box 3 Joos European Ballet. 1933-1937. Box 3 Munarani and her Hindu Mystics. 1935. Box 3 Ballet Russe. 1935. Physical Description: 2 programs. Box 3 Ballet Joos. 1935. Box 3 La Argentina. 1935. Box 3 American Ballet. 1935. Box 3 Ballet Russe de Monte Carlo. 1935. Box 3 Ballet Russe at the Metropolitan Opera. 1935. Box 3 Dance Council of Northern California Dance Festival. 1935. Box 3 Michael Fokine and his Ballet. 1935. Physical Description: 4 programs. Box 3 Pan Pacific Association of Shanghai. Robert Schumann Ballet. 1935. Box 3 Ballet Russe. 1935. Box 3 Ted Shawn and his Men Dancers. 1935-1936. Box 3 Ballet Russe. 1936. Box 3 Fokine Ballet. 1936. Box 3 American Ballet. 1936. Box 3 Ballet Russes de Monte Carlo. 1936. Physical Description: 2 programs. Box 3 Martha Graham. 1936. Box 3 Hartford Festival. 1936. Box 3 Growth and development of San Francisco. Various San Francisco dance groups. 1936. Box 3 Trudi Schoop and her Comic Ballet. 1936. Box 3 Waldeen--American Creative Dancer. 1936. Box 3 Marina Svetlova. 1936. Physical Description: 3 programs. Box 3 Nimura. Dancing Samurai Returns. 1936. Box 3 Ballet Russes de Monte Carlo. 1936-37. Box 3 (?): Harald Kreuzberg. 1937 Box 3 Ballet Russe. 1937. Finding Aid for the Collection of 866 4 Dance Programs, 1890-1990 Chronological Index Box 3 Philadelphia Ballet. 1937. Physical Description: 2 programs. Box 3 Ballet Caravan. 1937. Box 3 Ted Shawn and his Men Dancers. 1937. Physical Description: 2 programs. Box 3 Trudi Schoop and her Comic Ballet. 1937. Box 3 Mordkin Ballet. 1937. Physical Description: 2 programs. Box 3 Martha Graham. 1937. Box 3 Uday Shankar. 1937. Box 3 Ballet Russes de Monte Carlo. 1937. Box 3 Angna Enters Theatre. 1937. Box 3 Doris Niles. 1937. Box 3 Mordkin Ballet. 1937-1938. Physical Description: 2 programs. Box 3 An Evening of Modern Dance: Ruth St. Denis, Martha Graham, Hanya Holm, Doris Humphrey, Charles Weidma Tamiris. 1938. Box 4 Huger, Flower, and Iman Kashkevitch. 1938. Box 4 Theodore Kosloff Ballet. 1938. Box 4 Sai Shoki. Korean Dancer. 1938. Box 4 Mordkin Ballet. 1938. Box 4 Uday Shankar and his Hindu Ballet. 1938. Box 4 Ballet Caravan: American Dancers. 1938. Box 4 Argentinita. 1938. Box 4 Ann Jones Dancing Kiddies. 1938. Box 4 Trudi Schoop. 1938. Box 4 Ballet Russe. 1938. Box 4 (?): Littlefield Ballet. 1938 Box 4 Doris Niles and Serge Leslie. 1938-1939. Box 4 Mordkin Ballet. 1938-1939. Box 4 Ballet Carnival. Nana Gollner and the California Ballet. 1939. Box 4 San Francisco Opera Ballet. 1939. Box 4 Winslow-Fitzsimmons. 1939. Box 4 Ballet Joos. 1939. Box 4 Follies Bergere. 1939. Box 4 Argentinita. 1939. Box 4 Ted Shawn and His Men Dancers. 1939. Box 4 The Federal Ballet. 1939. Box 4 Hampton Institute. 1939. Box 4 Van Swaine. Program and poster. 1939. Box 4 Ballet Russe. 1939. Physical Description: 2 programs. Box 4 Ballet Russe. 1940. Physical Description: 8 programs. Box 4 Joos Ballet. 1940. Physical Description: 1 program. Box 4 Mikhail Mordkin Studio Sleeping Beauty. 1940. Box 4 Ballet for America. 1940. Box 4 Ballet Theater. 1940. Finding Aid for the Collection of 866 5 Dance Programs, 1890-1990 Chronological Index Box 4 Takarazuka Girls: Grand Cherry Show, Girls' Opera. 1940. Physical Description: 2 programs. Box 4 Dorothy Niles-Serge Leslie. 1940. Box 4 Littlefield-Philadelphia Ballet. 1940. Box 4 Ethel Waters, Cabin in the Sky. 1940. Box 4 San Francisco Opera Ballet. 1940. Box 5 American Ballet. 1941. Box 5 Ballet Theater. 1941. Physical Description: 3 programs. Box 5 Katherine Dunham and Her Dance Company. 1941. Box 5 Joos Ballet. 1941. Box 5 Littlefield Ballet. 1941. Box 5 Muma. 1941. Box 5 General Platoff Don Cossack Chorus. 1941. Box 5 The Polish Ballet. 1941. Box 5 Dance with Veloz and Yolanda. 1941. Box 5 (?): Don Cossack Chorus and Dancers, Serge Jaroff, conductor. 1941 Box 5 Ballet Russe. 1941-42. Physical Description: 2 programs. Box 5 Ballet Russe.
Recommended publications
  • LIST of WORKS in the EXHIBITION Dance of Hands

    LIST of WORKS in the EXHIBITION Dance of Hands

    LIST OF WORKS IN THE EXHIBITION Dance of Hands. Tilly Losch and Hedy Pfundmayr in Photographs 1920 ─1935 November 14, 2014–February 15, 2015 Rupertinum Works are listed in alphabetical order according to artist’s names and in chronological order. Works indicated in italics are authorized titles, otherwise a descriptive title is used. Height proceeds width proceeds depth. Anonymous Salzburg Festival 1926, 1926 Film, 16mm (black and white, silent) transferred to digital video disc 14:25 min. This film is stored at Bundesarchiv-Filmarchiv Berlin Friedrich Wilhelm Murnau Nosferatu—A Symphony of Horror , 1922 Max Schreck as Nosferatu Frame enlargement Silver gelatin print (vintage print) 6.8 x 9 cm Austrian Film Museum, Vienna Friedrich Wilhelm Murnau Nosferatu—A Symphony of Horror , 1922 Wolfgang Heinz as Nosferatu and Max Schreck as Maat Film still Silver gelatin print (vintage print) 10.2 x 12.4 cm Austrian Film Museum, Vienna Robert Wiene The Hands of Orlac , 1924 Conrad Veidt as Paul Orlac and Alexandra Sorina as Yvonne Orlac Film still Silver gelatin print (vintage print) 21.1 x 27 cm Austrian Film Museum, Vienna Robert Wiene The Hands of Orlac , 1924 Conrad Veidt as Paul Orlac and Fritz Kortner as Nera Film still 1/21 Dance of Hands_List of works Silver gelatin print (vintage print) 21.3 x 27.4 cm Austrian Film Museum, Vienna Robert Wiene The Hands of Orlac , 1924 Conrad Veidt as Paul Orlac Silver gelatin print Photo: 17,6 x 23,6 cm Theatermuseum, Vienna Gustav Ucicky Pratermizzi , 1926 Hedy Pfundmayr as double of the dancer Valette
  • Papéis Normativos E Práticas Sociais

    Papéis Normativos E Práticas Sociais

    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
  • KURT WEILL NEWSLETTER Volume 5, Number 2 Fall 1987

    KURT WEILL NEWSLETTER Volume 5, Number 2 Fall 1987

    KURT WEILL NEWSLETTER Volume 5, Number 2 Fall 1987 AMTF Receives Federal Grant for university production is reviewed in this Love Life issue). The grant represents part of the The American Music Theater Festival NEA's six-million dollar effort to assist recently received an $80,000 grant from opera and musical theater companies the National Endowment for the Arts to throughout the United States. Other support its 1988 planned production of recipients include the Metropolitan and l Love Life and to assist in rehearsals of New York City Operas (in support of Revelation of the Courthouse Park, by the their free summer programs), the Hous­ pioneering microtonal composer, Harry ton Grand Opera, the Lyric Opera of Partch. The AMTF production of the Chicago, the Opera Guild of Greater Weill-Lerner collaboration will mark the Miami, and the Washington, DC, Na­ first professional revival of the work (a tional Institute for Music Theater. IN THIS ISSUE Say No to Mediocrity: The Crisis of Musical Interpretation by 6 Kurt Weill Love Life Begins at Forty by Terry Millei· 8 The Seven Deadly Sins at Brighton by Jane P1itchard 10 Columns Letters: David Drew Answers Richard Taruskin 3 Around the World: Kurt Weill Festival in New York 4 I Remember: Your Place, Or Mine?: An "un-German" Affair by 5 David Drew's Handbook Published Felix Jackson New Publications in UK and US 12 Selected Performances 23 Kurt Weill: A Handbook by David Drew was published in September by Reviews Faber and Faber in the United Kingdom Kurt Weill Festival in New York Allan Kozinn 13 and the University of California Press in Seven Deadly Sins in London Paul Meecham 16 the United States.
  • Bruhn, Erik (1928-1986) Erik Bruhn (Second from Left) Visiting Backstage at by John Mcfarland the New York City Ballet

    Bruhn, Erik (1928-1986) Erik Bruhn (Second from Left) Visiting Backstage at by John Mcfarland the New York City Ballet

    Bruhn, Erik (1928-1986) Erik Bruhn (second from left) visiting backstage at by John McFarland the New York City Ballet. The group included (left Encyclopedia Copyright © 2015, glbtq, Inc. to right) Diana Adams, Entry Copyright © 2002, glbtq, Inc. Bruhn, Violette Verdy, Sonia Arova, and Reprinted from http://www.glbtq.com Rudolph Nureyev. Erik Bruhn was the premier male dancer of the 1950s and epitomized the ethereally handsome prince and cavalier on the international ballet stage of the decade. Combining flawless technique with an understanding of modern conflicted psychology, he set the standard by which the next generation of dancers, including Rudolf Nureyev, Mikhail Baryshnikov, Peter Schaufuss, and Peter Martins, measured their success. Born on October 3, 1928 in Copenhagen, Bruhn was the fourth child of Ellen Evers Bruhn, the owner of a successful hair salon. After the departure of his father when Erik was five years old, he was the sole male in a household with six women, five of them his seniors. An introspective child who was his mother's favorite, Erik was enrolled in dance classes at the age of six in part to counter signs of social withdrawal. He took to dance like a duck to water; three years later he auditioned for the Royal Danish Ballet School where he studied from 1937 to 1947. With his classic Nordic good looks, agility, and musicality, Bruhn seemed made for the August Bournonville technique taught at the school. He worked obsessively to master the technique's purity of line, lightness of jump, and clean footwork. Although Bruhn performed the works of the Royal Danish Ballet to perfection without any apparent effort, he yearned to reach beyond mere technique.
  • Program, Grauman's Chinese Theatre (Text Transcription)

    Program, Grauman's Chinese Theatre (Text Transcription)

    Program, Grauman’s Chinese Theatre Hollywood, California [cover image: sketch of Grauman’s Chinese Theatre] [page 2, borders decorated with floral designs and Chinese characters] PROGRAMME Grauman’s Chinese Theatre offers “GLORIES OF THE SCRIPTURES” A Sid Grauman Presentation, on the Prologue for Cecil B. De Mille’s “THE KINF OF KINGS” By JEANNIE MACPHERSON Overture Grauman’s Chinese Symphony Orchestra, Arthur Kay conductor, Albert Hay Malotte at the mighty Wurlitzer Organ. Locale – the meeting place of the populace I. Twilight prayers of the common people. II. Dance of the Palms – Theodore Kosloff dancers III. Chant of the Israelite High Priests. “The Holy City” – High Priest Chandowsky. IV. The Boy Soprano – Stewart Brady. TABLEAUX A. Joseph and his Brethren. (Just after his sale into slavery). B. Daniel in the Lion’s Den. C. The Star of Bethlehem. D. The Nativity. E. The Flight Into Egypt. [notes at foot of page 2]: M. Ellis Read, house manager; Lester Cole, stage assistant to Mr. Grauman. Musical Score for “the King of Kings” personally created by Dr. Hugo Reisenfeld; Orchestrations by Otto Potoker. [page 3] “THE KING OF KINGS” CAST • Jesus, the Christ – H.B. Warner • Mary, the Mother – Dorothy Cummings • The Twelve Apostles o Peter – Ernest Torrence o Judas – Joseph Schildkraut o James – James Neill o John – Joseph Striker o Matthew – Robert Edeson o Thomas – Sidney D’Albrook o Andrew – David Imboden o Philip – Charles Belcher o Bartholomew – Clayton Packard o Simon – Roberts Ellsworth o James, the less – Charles Requa o Thaddeus – John T. Prince • Mary Magdalene – Jacqueline Logan • Caiaphas, High Priest of Israel – Rudolph Schildkraut • The Pharisee – Sam DeGrasse • The Scribe – Casson Ferguson • Pontius Pilate, Governor of Judaea – Victor Varconi • Proculla, wife of Pilate – Majel Coleman • The Roman Centurion – Montague Love • Simon of Cyrene – William Boyd • Mark – M.
  • Into the Eye of the Storm Destruction

    Into the Eye of the Storm Destruction

    tain” overwhelmed by a storm, who eventually dis - covers that “to oppose the storm meant preeminent Into the Eye of the Storm destruction. So he took the opposite course and headed the vessel right into the storm and finally reached the center where it was still and peaceful.” Collins equates this tranquil center with what she calls the “Eye of God”—but it serves just as well as a symbol of her intuitive professional strategy. In an interview in the Seattle Times not included in this book, Collins said of her family, “We didn’t consider ourselves black. … We were well-aware of how black people were treated, but we didn’t bow to that treatment. We didn’t have to overcome inferiority. We had to overcome arrogance.” Desirous of education and stability, committed to excellence in every pursuit, the extended Collins-de Lavallade family paired a remarkable self- confidence with a conviction that dates back at least as far as Anna Julia Cooper’s assertion in 1892 that a woman’s “quiet undisputed dignity…without suing or special patronage” could, by dint of example, elevate the “Negro race.” anet Collins was born in New Orleans in 1917 and brought up in southern California in a Jclose-knit extended family in which, she writes, “We were all encouraged to follow our natural endowments.” Her first ballet teacher was a neighbor, Louise Beverly, who seems to have had some association with Ruth St. Denis and Ted Shawn’s Denishawn modern dance company, indicated in part by the fact that the young Collins was taught a version of the company’s “exotic” East Indian “nautch” dance.
  • CB1975 V6N2 P 35-44.Pdf (2.106Mb)

    CB1975 V6N2 P 35-44.Pdf (2.106Mb)

    PERSONAJES DE LA ALONSO gitanas, españolas, PEDRO SIMON goyescas... El Lewisohn Stadium de Nueva York fue eScenario en agosto de 19W del primer éxito de Alicia Alonso con un personaje español. Ese día estrenó junto a Nora Kaye, Jerome Robbins y otros, la obra Goyescas (1), una coreografía de Antony Tudor compuesta sobre la música homónima de Enrique Granados. El estilo de esta nueva creación de Tudor mereció que se califica­ ra la obra como "un extraño fenómeno dentro del re­ pertorio de Ballet Theatre", y en ella reveló la baila­ rina cubana posibilidades hasta entonces inéditas. Su danza fue desenvuelta en secuencias de elegante femi­ nidad, sin grandes complejidades de contenido, pero estableciendo la imagen peculiar de una maja ajena a pintoresquismos y recurros facilistas. Aparecía una ?,ueva dimensión en la joven artista, que a lo largo de su carrera transmutaría en personajes de honda fuerza expresiva. Tres años más tarde, acompañada por Leónid Massine, fue la intérprete principal en la reposición de Capricho español. Massine compuso este ballet en la década del treinta, en colaboración con Enca.rnación López, !al famosa "Argentinita", sobre una fantasía para orques­ ta y violín de Rimski Korsakov basada en temas espa­ ñoles. Cuando Alicia Alonso lo sumó a su repertorio, la críti.ca comentó el increíble ritmo de su danza, el fuego que nunca vulneraba la forma, las cadencias fre­ néticas, ei taconeo fervoroso, las sinuosidades Titmicas de la línea. Todo se conjugó en ella para plasmar una gitana de reminiscencias goyescas. El ballet Don Quijote, con música de Minkus, es justa.
  • Appendix 5 Selected Films in English of Operettas by Composers for the German Stage

    Appendix 5 Selected Films in English of Operettas by Composers for the German Stage

    Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright.
  • Contribution to Dance (1964-2019)

    Contribution to Dance (1964-2019)

    VERONICA TENNANT, C.C. Contribution to DANCE in CANADA 1964-2018 During her illustrious career as Principal Dancer with The National Ballet of Canada, Veronica Tennant won a devoted following on the national and international stage as a dancer of versatility and dramatic power. At 18, the youngest Principal Dancer in the company Tennant was chosen by Celia Franca and John Cranko, for her debut as Juliet. She went on to earn accolades in every major classical role as well as having several contemporary ballets choreographed on her. She was chosen by, and worked with the legendary choreographers: Sir Frederick Ashton, Roland Petit, Erik Bruhn, John Neumeier and Jiri Kylian – and she in turn nurtured a younger generation of Canadian choreographers including James Kukelka, Anne Ditchburn, Constantin Patsalas and David Allan. For 25 years she danced across North and South America, Europe and Japan, dancing with the greatest male dancers of our time including; Erik Bruhn, Rudolf Nureyev, Anthony Dowell, Mikhail Baryshnikov, Edward Villella, Fleming Flindt, Peter Schaufuss, Niels Kehlet, Fernando Bujones, Ivan Nagy, Jean Pierre Bonnefous and Richard Cragun. She was blessed with her Canadian partners, from Earl Kraul (her first Romeo), to Lawrence Adams, Glenn Gilmour, Frank Augustyn, Sergiu Stefanschi, Kevin Pugh, Rex Harrington and Raymond Smith (her tenth Romeo). Two of the CBC television performances with Tennant in the title role; Cinderella and The Sleeping Beauty, won Emmy Awards. Her first, in Norman Campbell’s 1965 production of Romeo and Juliet won Le Prix Barthelmy in Monte Carlo. Veronica Tennant gave her farewell performances in 1989 – dancing her signature role in, Romeo and Juliet and in the Gala – A Passion For Dance – Celebrating the Tennant Magic.
  • Society of Dance History Scholars Proceedings

    Society of Dance History Scholars Proceedings

    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
  • Mattingly Final(Numbered)

    Mattingly Final(Numbered)

    Set in Motion: Dance Criticism and the Choreographic Apparatus By Kate Mattingly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Abigail De Kosnik Professor Anton Kaes Professor SanSan Kwan Spring 2017 Copyright © Kate Mattingly All Rights Reserved Abstract Set in Motion: Dance Criticism and the Choreographic Apparatus By Kate Mattingly Doctor of Philosophy in Performance Studies Designated Emphasis in New Media University of California, Berkeley Professor Shannon Jackson, Chair This dissertation examines the multiple functions of dance criticism in the 20th and 21st centuries in the United States. I foreground institutional interdependencies that shape critics’ practices, as well as criticism’s role in approaches to dance-making, and the necessary and fraught relations between dance criticism and higher education. To challenge the pervasive image of the critic as evaluator and of criticism as definitive, Set in Motion focuses on conditions that produce and endorse certain forms of criticism, and in turn how this writing has gained traction. I employ the concept of a choreographic apparatus to show shifting relations amongst writers, artists, publications, readers, institutions, and audiences. Their interactions generate frameworks that influence dance’s history, canon, and disciplinary formations. I propose a way of situating criticism as a form of writing that intersects with, informs, and influences both history and theory. Set in Motion expands discourse on writing by examining the continuities and discontinuities in practices over the course of a century.
  • Interpreting Musical Structure Through Choreography in Gershwin's

    Interpreting Musical Structure Through Choreography in Gershwin's

    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-23-2019 Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris" Spencer Reese University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Reese, Spencer, "Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris"" (2019). Doctoral Dissertations. 2172. https://opencommons.uconn.edu/dissertations/2172 Abstract Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese, D.M.A. University of Connecticut, 2019 This dissertation explores the relationship between the theoretic interpretation of music (through analysis of a score) and the kinesthetic interpretation of it (through dance). While compelling choreography often evokes the same expressive qualities as a score, music and dance each have expressive and structural components. This study looks beyond expressive unity to examine how formal elements of a musical score are embodied in a choreographic interpretation of it. George Gershwin’s now-iconic symphonic poem An American in Paris, while conceived as concert music, was almost immediately interpreted in dance onstage. It also inspired larger narrative works, including a film choreographed by Gene Kelly and a musical helmed by Christopher Wheeldon. When a score is written for dance, the logistical considerations of choreography likely influence the piece’s composition. But in the case of Paris, the structural details of the music itself have consistently given artists the impression that it is danceable. Gershwin’s life and musical style are examined, including his synthesis of popular and Western art music.