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Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. Naima Prevots [r. B iwford t . George Jackson Dean of the College Date 2002 American University Washington, D.C. 20016 S i 5 Oh m e rc m munsnxuum Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1408882 Copyright 2002 by Brokenshire, Alyson R. All rights reserved. ___ ® UMI UMI Microform 1408882 Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © COPYRIGHT by Alyson R. Brokenshire 2002 ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire ABSTRACT This study focuses on the choreography of Glen Tetley and his contribution to the development of modem dance in Europe 1962-1983. This study will initially examine Tetley’s career in America—his training and performance experience, and his choreography for his own group of dancers. Tetley’s work in Europe will then be examined focusing specifically on his choreography with the Netherlands Dance Theatre, Rambert Dance Company, and the Stuttgart Ballet 1962-1983. While these companies were undergoing a transition period in terms of repertory and policy, Tetley’s work shaped the new direction of each company. Tetley’s choreography exposed the dancers to new movement possibilities, and opened up new relationships in movement, music, and design. A picture of Tetley’s work in Europe is analyzed in the context of his overall career as a choreographer in both Europe and America, and the recent resurgence of interest in his choreography is addressed. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION ’ This thesis is dedicated in memory of my nan, Marjorie Ellen Brokenshire, who supported and encouraged me with all aspects of my studies. Her generosity and love will continue to touch my life forever. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS My sincerest thanks to the members of my committee, Dr. Naima Prevots, Dr. George Jackson, and Dr. Brett Crawford, who guided my thesis with insightful commentary. A special thanks to Naima whose breadth of knowledge and experience of the art form of dance is never-ending. Her prompt feedback was invaluable, and her continual support, encouragement, and inspiration was motivating and challenging. I would also like to thank Dr. Angela Kane, who stimulated my interest in dance history and originally inspired my curiosity in Glen Tetley’s work. Her support and encouragement beyond my undergraduate studies has been unprecedented and much appreciated. A special thanks to Glen Tetley, whose choreography forms the basis of this study. I appreciate his willingness to be interviewed, and his generosity in sharing his thoughts about his choreography and his place in the history of modem dance. I would also like to thank Charles L. Reinhart and Carmen de Lavallade for their enthusiasm in sharing their experiences and insights on Glen Tetley’s work. Lastly, I would like to express my gratitude to my parents for their interest and support in my course of study. Thank you for your love, and never wanting anything more than for me to be happy. To all my friends in England and America who have taught me so much and who keep my feet on the ground, and to Ben Levy who continues to inspire me as I grow with each new day. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CONTENTS ABSTRACT........................................................................................................................ii ACKNOWLEDGEMENTS................................................................................................iii CHAPTER 1. GLEN TETLEY: BACKGROUND, TRAINING, AND PERFORMANCE EXPERIENCE....................................................................1 2. GLEN TETLEY: CHOREOGRAPHY FOR COMPANY 1962-1969 ............13 3. GLEN TETLEY AND NETHERLANDS DANCE THEATRE 1962-1972...28 4. GLEN TETLEY AND RAMBERT DANCE COMPANY 1967-1983.......... 47 5. GLEN TETLEY AND STUTTGART BALLET 1973-1976 ......................... 67 6. CONCLUSION ................................................................................................85 APPENDICES.................................................................................................................. 98 BIBLIOGRAPHY............................................................................................................119 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 GLEN TETLEY: BACKGROUND, TRAINING, AND PERFORMANCE EXPERIENCE This chapter will address how Glen Tetley became interested in dance. It will focus on his training in both the classical and modem dance genres, and his diverse career as a performer that ranges from dancing with classical ballet and modem dance companies, to performing in Broadway musicals. In terms of choreography, this chapter will show how Tetley’s training and career as a performer influenced his ideology as a choreographer. Glen Tetley (Glenford Andrew Tetley, Jr.) was bom in Cleveland, Ohio, on 3 February 1926. His father was a successful insurance executive for one of the largest companies in America and his mother was an actress who studied at Carnegie Mellon University. Tedey’s father wanted his son to follow in his footsteps, however his love of the arts came at an early age from his mother. Tedey states, “she inspired m e. I remember cueing her in Macbeth and I saw her in performance.”1 He also remembers seeing a production of The Merchant of Venice which opened his “mind and heart to theater. in those days there was no television. I never knew anything remotely like 1 Jane Vranish, “After 56 Years, Tetley Comes Home for PBT Tribute,” Pittsburgh Post- Gazette, 6 May 2001, G3. I Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2 ballet companies.”2 When his parents separated, Tetley moved with his mother to Wilkinsburg, Pennsylvania. In 1943, American Ballet Theatre (ABT) performed Anthony Tudor’s production of Romeo and Juliet (1943) in Tetley’s hometown. Tetley recalls that the production was choreographed with “such subtlety and beauty. It provided the whole essence of Shakespeare, achieved without words . I was overwhelmed by the experience. I said, ‘this is what I love to do, what I’ve been waiting to do.’”3 Inspired by the performance, Tetley decided that he wanted to become a dancer and he began taking lessons at a local dance school with teacher Hela Slavinska. In 1944, Tetley graduated from Wilkinson High School during the midst of World War n. The same year he enlisted in the Navy, and he was sent for premedical training at Franklin and Marshall College in Lancaster, PA. However, Tetley was intent on becoming a dancer, and decided to continue his dance training while he was a student. On the rare occasion when he had a free weekend, Tetley traveled to New York to take dance classes. “They’d give me free lessons if I came. Of course, I had no ballet shoes, and I would wear my Navy swim