Browse Items (103 total)

Alonso talks about her approach to learning lead roles (such as Giselle) from observing steps, entrances, and exits while in the corps de ballet (chorus). She discusses her "famous year" in bed, rehearsing steps on her fingers from memory. Alonso…

Vilzak talks about learning and dancing the classical ballet repertory in tsarist Russia. The principal works discussed are Tchaikovsky's Swan Lake and Sleeping Beauty. In the interview clip, Vilzak reminisces about watching dancers perform from the…

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…

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…

Youskevitch tells how he was recruited to become a dancer, and his effort to master the role of Albrecht in the classical ballet Giselle. Biographical note: Born in the Ukraine in 1912, Youskevitch and his family fled the Russian Revolution to settle…

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…

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…

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…

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…

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…

Madsen talks about the choreographer, John Cranko, and the relationship between choreographers and dancers in general. This interview was not included in Newman's books.Biographical note:Born in Denmark in 1942, Madsen first took the stage at age 10…

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…

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…

Sibley discusses her training at Sadler's Wells School and her roles in classical ballet, focusing on Swan Lake. She explains what it means to be a musical dancer and the huge impact music played in helping her interpret roles. Sibley speaks about…

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…

Marks discusses his role as Prince Siegfried in Swan Lake. He presents his interpretation of a particular scene in Swan Lake where Prince Siegfried spots Odette. Marks speaks about the intuitiveness of the Prince's character, and wishes for more…

Wall discusses the balcony scene in Romeo and Juliet, the emotional life of the characters, and applying the narrative dynamics of the play to the ballet.Biographical note:David Wall was born in 1946 and trained at the Royal Ballet School. He toured…

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…

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…

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…

MacLeary discusses his role as Prince Siegfried in Swan Lake. Biographical note: MacLeary was born in Glasgow in 1937. He began his training with Sheila Ross in Inverness shortly before he entered Sadler’s Wells Ballet School and joined Sadler’s…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…
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