Browse Items (21 total)

Francia Russell is an American ballet dancer, master, and director. She trained at the San Francisco Ballet school. She has danced with the New York City Ballet and with Jerome Robbins' Ballet U.S.A. She acted as ballet master at the New York City…

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…

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.…

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…

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…

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 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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…

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…
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