Browse Items (103 total)

Bonnefoux discusses his take on dance education and teaching style, saying that "teaching is not about serving tradition, it's about serving them [the students]." He also discusses major changes and trends in the dance community since he started out.…

Soft-spoken Bonnefoux talks about dancing The Four Temperaments, his first introduction to George Balanchine, and working in the Paris Opera.Biographical note:Born in France in 1943, Bonnefoux studied at the Paris Opera Ballet School. In 1959, he…

Jean-Pierre Frohlich is an American ballet dancer, master, and choreographer. He trained at the School of American Ballet before joining the New York City Ballet, where he performed as a soloist and went on to become a ballet master. He is now a…

Jean-Pierre Frohlich is an American ballet dancer, master, and choreographer. He trained at the School of American Ballet before joining the New York City Ballet, where he performed as a soloist and went on to become a ballet master. He is now a…

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…

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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Bloom talks about his work on the film A Chorus Line. The interview begins with a discussion of the pressures of joining a production already in progress, and the unique aspects of editing a film with dance as its focus. He goes on to describe the…

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Kathryn Wade trained, danced, and taught at the Royal Ballet School in London, U.K.. In 1992 she was appointed Director of the English National Ballet School. Following her tenure as Director, she returned to the Royal Ballet School as Principal of…

Kathryn Wade trained, danced, and taught at the Royal Ballet School in London, U.K.. In 1992 she was appointed Director of the English National Ballet School. Following her tenure as Director, she returned to the Royal Ballet School as Principal of…

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…

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.…

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…

Christensen recalls his experiences working with George Balanchine during the formative period of American ballet in New York City. He tells how be became the first American to dance the role of Apollo in Balanchine's ballet of the same…

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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Seymour discusses her role as Juliet in Romeo and Juliet, focusing on originating the role in Kenneth MacMillan's production and her frequent partner, Christopher Gable. Biographical note: Lynn Seymour, dancer and choreographer, was born in…

Seymour talks about how the film The Red Shoes and Beethoven's symphonies hooked her into dance. She knew at a very young age that she would need to dance to live. She talks about her major influences in dance: Frederick Ashton, her ballet master in…

Maina Gielgud is a British ballet dancer and director. She has danced with Maurice Bejart's Ballet of the 20th Century, Deutsche Oper Berlin, London Festival Ballet, and the Sadler's Wells Royal Ballet (now Birmingham Royal Ballet). From 1983-96 she…

Maina Gielgud is a British ballet dancer and director. She has danced with Maurice Bejart's Ballet of the 20th Century, Deutsche Oper Berlin, London Festival Ballet, and the Sadler's Wells Royal Ballet (now Birmingham Royal Ballet). From 1983-96 she…

Marc du Bouays is a French ballet dancer and teacher. He trained at the Paris Opéra Ballet school before becoming a member of the company in 1968. He has danced with English National Ballet, Pittsburgh Ballet and Northern Ballet Theatre. In 1982, he…

Haydée discusses Juliet, the role created for her, and working with John Cranko, who gave her the confidence she needed to define her own Juliet. She also discusses what dancers contribute to their respective roles. This interview was not included…

Margaret Mercier is a Canadian ballet dancer and teacher. She trained at the Royal Ballet School before joining the Sadler's Wells Royal Ballet (now Birmingham Royal Ballet). She has taught at the Royal Danish Ballet school and the Swedish Ballet…

Mark Morris is an American ballet dancer, choreographer, and director. He has danced with Koleda Balkan Dance Ensemble and the Laura Dean, Hannah Kahn, Eliot Feld and Lar Lubovitch companies. He has acted as Director of Dance at the Théâtre Royal…

In the interview, Park discusses her initial role as understudy for Lise in Fille mal Gardee. She discusses the collaboration between the dancers and the choreographer Sir Frederick Ashton. This interview has not been published in any of Newman's…

Ashley talks about having preference for certain roles. She didn't think she would get the role of Sanguinic in The Four Temperaments, but then did and had very little time to prepare. She also talks about her difficulty learning certain…

In this interview, Ashley describes the expectations that were placed on her as a dancer, like speed and clarity. She describes how these expectations intersected and overlapped with her expectations for herself. Biographical note:Merrill Ashley was…

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…

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…

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…

Mason discusses mime in dance, particularly in The Firebird. She talks about the integral part of the feather in her wardrobe, and other wardrobe issues as Odette in Swan Lake.Biographical note:Dame Monica Mason was born in Johanesberg, South Africa…

In this interview, Mason mostly discusses her earliest days working at The Royal Ballet. She had only been in school for a year when she had been picked to perform with the company, having taken the place of another company member who had gotten…

Nerina discusses the importance of being trained at a very young age. She mentions how her teachers’ personalities influenced her repertoire. She also discusses starting her professional career at the Sadler’s Wells company and how she created…

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…

Larsen talks about becoming a dancer and the technique of miming. He discusses his debut in a Balanchine product of Boutique Phantasm as a young man. He also offers an in-depth analysis of the role of Dr. Coppelius in the classical ballet…

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…

As the only interviewee from the 1990s who is still dancing, Ananiashvili discusses the evolution of her signature role of Giselle and how life changes, including her new role as director, different dance partners, and new repertories, instinctively…

When asked what she felt were the most important experiences she had before arriving to ballet theater Kaye answers that there was very little because she started at a young age. She expresses her good fortune having Michel Folkine (who is considered…

Wilde discusses moments gone wrong on stage, particularly a time when she jumped over two dancers, tripped over a skirt that was popping up, and went down instead of up, landing in an arabesque pose, then managing to get herself upward. This…

Martins discusses his enormous love for dance, and his motivations for becoming a dancer.Biographical note:Peter Martins was born in 1946. He first danced with the New York City Ballet in a production of George Balanchine's Apollo in 1967. He became…

This interview did not appear in either edition of Barbara Newman's Striking A Balance. Unfortunately the original sound recording level is very low on the tape of Peter Schaufuss' interview. While it was digitized with the rest of the archive, the…

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…
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