Browse Items (103 total)

In this interview, Skylanskaya details the beginning of her career as a dancer in Russia and discusses being a teacher. She discusses the movement and style of a good dancer, along with her musical background and the impact it had on her early life.…

John Ashford discusses his directorship of the contemporary dance and performance center, The Place. He addresses funding, audience attendance, and programming. In addition, he reflects on the nature of international styles and language of…

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Sonnabend discusses collaboration in her work with Kenneth MacMillan and others and describes music as the primary influence of her work. She also talks about her experiences seeing other productions of Swan Lake as well as some specific sets she has…

In this interview, Tankard details the beginning of her career at the Australian ballet, as well as her time at the Pina Bausch dance company in Germany. She also discusses her choreography and upcoming work.Biographical note:Tankard's professional…

Lt. Col. Edward Armitstead discusses his administrative role as overseeing officer in planning the annual Trooping of the Color Ceremony celebrating the Queen of England's birthday ceremony in 1985.Biographical note:Edward Armitstead served as a…

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Stanley discusses how she initially became a dancer as a teenager as well as some of the physical aspects of dance. She references some of her influences, including Dido Nicholson, and finally her move from classical ballet to contemporary dance. She…

In this interview, Natch Taylor discusses the formation and creation of the all male dance company Les Ballets Trockadero de Monte Carlo. He also discusses his background as a dancer and the popularity of the dance company in Japan as well as the…

Anderson discusses attending art school at St. Martins and dance theater at Middlesex College before joining the Laban Centre. Anderson also studied music, which plays a significant role in her pieces as they use almost all original music. Anderson…

Wang Jai Hung describes through an unknown interpreter his training in ballet from the time he was 12 and on. He discusses his training at the Chinese dance school, the Experimental Ballet Society, now known as the Central Ballet of China. He also…

Alston describes his influences and creative process when choreographing The Rite of Spring (1981), Night Music (1981), and Pulcinella (1987), which he was in the process of creating at the time of this interview.Biographical note:Richard Alston was…

Wright discusses the Sadler's Wells Royal Ballet's upcoming tour. He elaborates on ballet touring abroad and the role of the company as ambassadors. He goes on to reflect upon how to chose a successful touring repertory, noting the differences in…

Kent discusses coaching the Royal Ballet's production of Bugaku, and approaches in movement required by certain ballets, for instance, the extremes required by Balanchine ballets. Relates early motivation for choosing to study ballet and her early…

In this interview, Kustow discusses at length how his career in contemporary dance developed through his interest in contemporary music. He describes being a student at the Institute of Contemporary Arts in the late 1960s and John Cage's influence on…

Jürgensen reveals that he trained as a dancer in Copenhagen and Paris from age sixteen to nineteen before attending the Royal Danish Conservatory of Music, and eventually the University of Copenhagen, to study Musicology. He then explains how his…

Layton discusses the difficulty of finding good experienced dancers in London because there are too many shows and not enough dancers, which affects the quality. Conversely in New York, there are not enough shows and too many dancers. Layton…

Gavin Henderson discusses the Brighton Festival, which he has been director of since 1984. The festival gives Brighton's arts and artists exposure and brings new art to the city.Biographical note:Born in 1948, Gavin Henderson is a native of Brighton,…

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Leonard discusses his work in publishing books on dance. He elaborates on coverage of Russian Ballet (the Bolshoi), and photography books of dance.Biographical note:David Leonard is the managing director of Dance Books Ltd., the English bookselling…

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Gayle discusses the beginnings of the Royal Ballet Summer School, the people involved, and the finer administrative details of running a dance program, and of students' life while at the program. He cites Anya Linden, Lady Sainsbury as the first to…

Mitchell discusses a grant received from the Greater London Council to fund a year's training for five black English students at his New York school. The conversation extends into Mitchell's larger approach to ballet training, touching upon issues of…

Tim Flavin discusses his early roots in Texas, through his move to New York City, getting his union card, starting on the stage, and finally ending in London before his performance of Dracula (1986) at the Lyric Hammersmith.Biographical note:Tim…

In this interview, Paxton discusses using improvisation and the process of stepping back to look at how forms influence what's created. He also discusses working with the Extemporary Dance Theatre on his work Audible Scenery which he was involved in…

Geoff Dunlap discusses his career as videographer for the Merce Cunningham Dance Company, filming them for British Television. Mr. Dunlop describes Merce Cunningham as a singular genius who is consistent and ordered with an inquiring mind, always…

Ailne Phillips discusses teaching at Sadler's Wells Ballet School under the direction of the "extraordinary" Ninette de Valois (referred to here simply as "Madam"), including the structure of the school and style of coaching and instruction. In…

Salmon talks about the rapid pace and turnover of productions in the New York of the time. He describes his opinion on joy being the best motivator of dance rather than the militaristic attitudes he experienced with some choreographers. The…

Chorley discusses Sotheby's role as a dealer and their relationship to buyers, private collections and museums. Chorley emphasizes the importance of provenance and discloses that many fakes exist on the market. Her obligation is to authenticate…

Bourne talks about the history of the Dance Umbrella festival, beginning with its first performance at Riverside Studios at the ICA London. This 1988 interview marks the 10th anniversary of the Dance Umbrella. In 1988, Bourne was awarded the…

In anticipation of its opening, Schouvaloff defines the Theatre Museum's scope, mission, and its importance within the context of contemporary London culture.Biographical note:Descended from Russian aristocrats, Alexander Schouvaloff was born in…

Kelly describes what first attracted him to dance and his primary influences and inspirations. He explains that his years as a dancers were ultimately leading him to his true passion; dance education. Being a teachers has kept him involved in ballet…

Tomasson talks about the difference between dancing to please an audience and dancing to please oneself, the self-criticism of dancers, and his own process.Biographical note:Born in Reykjavik, Iceland in 1942, Tomasson began his career at age fifteen…

Fracci discusses her first appearance on stage as a singer in La Boheme at age 10, and the inspiration of seeing Margot Fonteyn in Sleeping Beauty at age 12.Biographical note: Fracci was born in Milan in 1936. She joined La Scala Theatre Ballet in…

Grey discusses her notion of a "musical dancer" which was a term often used to describe her style. Grey discusses the importance of a good conductor in ballet performances, learning about the role of Giselle from Audrey De Vos, and the challenge of…

Kelly discusses his early training in Rhodesia, coming to dance for the London Festival Ballet, and his sojourn with companies in New Zealand and Zurich. The bulk of the interview is an extended discussion of the role of the Prodigal Son, which Kelly…

Bergsma addresses her non-traditional height and the difficulty it produced to dance with others because of it. She says she was always happiest dancing by herself. When she danced with a partner, she left it up to them to “take over,” but she…

Gable discusses what makes a great solo: appearing organic and adding to the story, instead of stopping the story. Good choreography, he feels, should be an expression of an emotion, not an expression of dancing. Gable discusses the difficult work of…

Grant talks about finding inspiration as a young dancer, his first professional performances in England, and some of his many collaborations with choreographer Frederick Ashton, who created many roles for Grant. For most of the interview, Grant…

Jefferies discusses individuality in dance versus doing what is asked of oneself. He also describes his natural approach to and feelings for the character roles he takes on, and connecting his comfort with each to levels of confidence. Biographical…

Shearer talks about her first contact with Swan Lake at age 11 at the Sadler’s Walls ballet school. She was one of the singers and they only performed once or twice a year. She also discusses learning the title role in Giselle, and the difficulty…

Lander discusses her time at the Royal Danish Ballet with Harald Lander. She also discusses working with David Blair and Anthony Tudor. She focuses primarily on the dual role as Odette-Odile in Swan Lake. Biographical note: Born in Copenhagen in…

Ananiashvili discusses how she wanted to make a change from figure skating to classical ballet. She began dancing in pointe shoes and talks about joining the older girls in classes.Biographical note:Ananiashvili is a Georgian ballerina who started…

Sarry talks about learning the role of Swanilda in Coppelia and crafting a "flashy" ending for her final performance of the Aurora Variation.Biographical note: Sarry got her start in the ballet world when she was scouted by the Joffrey Ballet in high…
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