2 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 4%, 4., 9-4 Mp yC i BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 3 Brooklyn Festival of Dance 1970-71 The Brooklyn Academy of Music in association with The American Dance Foundation presents The American Ballet Company Director ELIOT FELD OLGA JANKE ELIZABETH LEE CHRISTINE SARRY ELIOT FELD JOHN SOWINSKI Marilyn D'Honau Karen Kelly Christine Kono Cristina Stirling Eve Walstrum Kerry Williams Larry Grenier Edward Henkel Kenneth Hughes Daniel Levins James Lewis Richard Munro Musical Director CHRISTOPHER KEENE Associate Conductor ISAIAH JACKSON Ballet Mistress BARBARA FALLIS The AmericBgaCr&k,y im!sa ,yclsic, rientcompany of Company at Brooklyn Academy possible TZhegtrhPaFtfsA,f."1.oamanle7,17odtAF:Edrtiroov:rBoarfo-r Ford Foundation, the New York StateState Council on the Aria and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performances. 4 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 The Brooklyn Academy of Music The Brooklyn Academy of Music is a department of the Brooklyn Institute of Arts and Sciences. Brooklyn Academy of Music Administrative Staff Management Company, Inc. Harvey Lichtenstein, Director Lewis L. Lloyd, General Manager Board of Directors: Charles Hammock, Asst. General Manager Seth S. Faison, President Jane Yockel, Asst. General Manager Donald M. Blinken Barry Moore, Comptroller Martin P. Carter Thomas Kerrigan, Assistant to the Director Richard M. Hester Michele Goldman Brustin, Assistant to the Director Peter C. R. Huang Anne Goodrich, Associate Press Representative Gilbert Kaplan Linda Fosburg, Manager of Harvey Lichtenstein Audience and Community Development Alan J. Patricof Betty Rosendorn, Administrator, School Time Program David Picker Sarah Walder, Administrator, Membership Program Richard C. Sachs Mildred Levinson, Administrative Secretary tl Adele Allen, Press Secretary The Academy of Music Sylvia Rodin, Administrative Assistant Governing Committee Frances M. Seidenberg, Financial Secretary Seth S. Faison, Chairman Evelyn August, Staff Assistant Edward S. Reid, Vice Chairman Pearl Light, Secretary, School Time Program Hon. Alexander Aldrich Ellen W. Jacobs, Program Editor Bernard S. Barr Deirdre Dietrichson, Dr. William M. [lumbar.. Registrar for Academy Dance Center Donald M. Blinken John R. H. Blum House Staff Martin Carter Thomas A. Donnelly Alfredo Salmaggi, Jr., House Manager William B. Hewson Gary Lindsey, Asst. House Manager Rev. W. G. Henson Jacobs Richard R. Burke, Box Office Treasurer Howard H. Jones Bill Griffith, Assistant Treasurer Gilbert Kaplan Lars Jorgenson, Assistant Treasurer Max L. Koeppel James Hillary, Assistant Treasurer Msgr. Raymond S. Leonard John Cooney, Stage Crew Chief Mrs. George Liberman John Van Buskirk, Master Carpenter Harvey Lichtenstein Edward Cooney, Assistant Carpenter Mrs. Constance J. McQueen Donald Beck, Master Electrician Alan J. Patricof Louis Beck, Assistant Electrician James Q. Riordan Thomas Loughlin, Master of Properties Richard C. Sachs Charles Brette, Custodian William Tobey Foundation and Corporate Contributors Abraham and Straus Foundation, Inc. The Altman Foundation American Can Co. Fdn. Anchor Savings Bank Arthur Andersen & Company Bache Corp. Fdn. Bankers Trust Co. John R. B. Blum Fund - through New York Community Trust Robert E. Blum Fund - through New York Community Trust Bowery Savings Bank Brevoort Sayings Bank Irving Brodsky & Co. Brooklyn Savings Bank Brooklyn Union Gas Co. Burlington Industries Foundation Caristo Construction Corp. The Celanese Fibers and Marketing Company Chase Manhattan Bank Fdn. Chemical Bank Trust Co. Community Drug Co., Inc. 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Trump Foundation Joy & Samuel Ungerleider Foundation United Air Lines Foundation United Mutual Savings Bank United States Steel Foundation, Inc. United States Trust Co., Fdn. van Ameringen Foundation, Inc. Wildenstein & Co., Inc. Williamsburgh Savings Bank A. B. Y. Fund - through New York Community Trust Zeta Foundation The George & Margarita Delacorte Fdn. We are pleased to extend this invitation to you to become a Friend. Friends of the Brooklyn Academy of Music are people who Believe in the need for quality programs at low boa office prices Offer assistance to the educational services provided by the Academy Inform the community of the variety of programs the Academy offers Help bridge the gap between costs and receipts MO Supporting $50 Patron MUSK= $500 Benefactor " " ' Eliot Feld and the Extinct Metaphor 't by Marcia B. Siegel PINO ABBRESCIA Eliot Feld's Harbinger (1967) WHEN the curtain rises, a boy is crouched, What you see is what's happening, and low to the ground, in front of a huge, what's happening is precisely what you see. back-lit, pastel-spattered sail. He slowly Compare this to almost any other sort of unfolds his body upward and greets the - ballet. Take a classical pas de deux. The empty stage with a flourish. The gesture has man and woman enter, meet, dance together all the resonant confidence of a boat whistle for a while; then one partner retires while saluting the harbor at dawn. the other does a solo. There are two reasons This is the first moment of the first ballet why he or she leaves the stage at this point: choreographed by Eliot Feld, Harbinger. It to breathe and rest before the next exertion, contains, in a way, everything one needs to and to give the entire stage to the other know about why many people consider Feld dancer. But the audience is not supposed to the most important young choreographer at think of that. We are supposed to imagine work today. that the first partner is really there, gazing fascinated on his beloved's performance, Someone recently told me that after see- because this is after all an ecstatic love ing Feld's work for the first time he was scene. puzzled because it didn't seem to be about Or take a Jerome Robbins duet. There anything but dancing. That, perhaps, is the seems to be much more going on be- fundamental point. The critics may suggest often the partners than is evident. How metaphors about it later, but that doesn't tween can we explain those ambiguous little make the moment of performance any less else gestures that seem so important, the loaded complete. Feld's dance isn't a metaphor for the crackling pause, the sudden ca- anything, not emperors and princesses, or glance, Some contest has been the demons of the psyche, or the vapors of pitulation? unspoken for ages between them, we're mysticism, or dawn, harbors, boats, portents. simmering forced to suppose, but they're not telling or anything but a boy extending his arm. us what it's about. And then they are gone, . leaving us none the wiser. © 1970 by Copyright Consider the colorful of modern MARCIA B. SIEGEL sexuality ballet the clutchings and acrobatic falls in New York - Marcia B. Siegel covers dance the contorted for the Los Angeles rimes and the Boston - embraces - someone's Herald. She is a contributing editor of hand shoots up in the air - orgasm! Or Arts in Society. the decorative anonymity of "abstract" bal- 6 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 intensely, until suddenly their ardor sub- sides, and the men pick up the girls in their arms and rock them to a lullaby. At Midnight poses solo dancers against groups, the way Mahler threaded his long, gorgeous melodic line through and over the orchestra in the Ruckert Songs, which ac- company the ballet. The group makes no statement of its own, but its presence, always surging and hovering in the background, determines the actions of the soloist. In Meadowlark, Feld matched the exuberant momentum of Haydn, and in Harbinger the frenetic pace of Prokofieff. Several unusual things are implied by this highly developed musicality of Feld's. His dancing often has a folk quality. The vo- cabulary is classic ballet, but the impulse to dance, the vitality, the lack of restraint MART. SWOre Feld at rehearsal with Christine Sorry looking on let, where you are not supposed to see a man touching a girl at all, but an idealized depiction of a musical phrase. What makes Feld's dancing different from all these is its immediacy, its refusal to adopt euphemisms, and its total reliance on the energy and sweep of the movement to convey meaning.