Browse Items (103 total)

Yuri Fateyev is a Russian ballet dancer, teacher, and director. He trained at the Vaganova Academy. In 1982 he joined the Kirov Ballet (now Mariinsky Ballet), he has since acted as company teacher, ballet master, and Acting Director since 2008.

Lazowsky looks back on his time in the ballet Petrouchka, where there was not much dancing except in the last scene. He states that on the stage and life there needs to be sincerity, which he applied in Petrouchka in a scene when it came to crying…

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…

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…

Violette Verdy is a French ballet dancer, director, and professor. She has danced with Les Ballets de Paris, the London Festival Ballet, Ballet Rambert, Royal Ballet, American Ballet Theatre, and the New York City Ballet. She has acted as the…

Violette Verdy is a French ballet dancer, director, and professor. She has danced with Les Ballets de Paris, the London Festival Ballet, Ballet Rambert, Royal Ballet, American Ballet Theatre, and the New York City Ballet. She has acted as the…

In this interview, Simon discusses her career path from her roots as a dancer from the early age of eight in the School of American Ballet meeting George Balanchine in 1948, her career in the New York City Ballet and then developing her career as a…

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…

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…

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…

LeClercq primarily discusses creating the role of Choleric in The Four Temperaments, but delves into experiences with other ballets. She describes working with Balanchine and Jerome Robbins as well as other dancers at the Ballet Society/New York City…

Suki Schorer is an American ballet dancer, teacher, and author. She trained at the San Francisco Ballet School and the School of American Ballet before joining the New York City Ballet in 1959, where she remained until 1972. In her retirement, she…

Suki Schorer is an American ballet dancer, teacher, and author. She trained at the San Francisco Ballet School and the School of American Ballet before joining the New York City Ballet in 1959, where she remained until 1972. In her retirement, she…

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…

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…

Sorella Englund is a Finnish ballet dancer, master, and teacher. She trained at the Finnish National Opera ballet school before joining the Royal Danish Ballet where she performed from 1966 to 1978. She has acted as the ballet master at the Boston…

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…

Shelley Washington is an American ballet dancer and master. She trained at the Interlochen Arts Academy and Juilliard School of Music. She has danced with the companies of Martha Graham and Twyla Tharp as well as the American Ballet Theatre, where…

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…

Robert Denvers is a Belgian ballet dancer and director. He has danced with the Strasbourg Opera Ballet, the Grand Ballet du Marquis de Cuevas, and Maurice Bejart's Ballet of the 20th Century. From 1979 to 1986, he lead his own New York studio, the…

Robert Denvers is a Belgian ballet dancer and director. He has danced with the Strasbourg Opera Ballet, the Grand Ballet du Marquis de Cuevas, and Maurice Bejart's Ballet of the 20th Century. From 1979 to 1986, he lead his own New York studio, the…

Richard Thomas was an American ballet dancer and teacher. He danced with the American Ballet Theatre, Ballet Russe de Monte Carlo, Ballet Alicia Alonso (now National Ballet of Cuba), and New York City Ballet. He and his wife, Barbara Fallis, founded…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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, 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…

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…

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…

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…

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, 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…

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…
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