Browse Items (15 total)

alonso1979jul19_sidea_clip.mp3
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…

fracci1979oct17_sidea_clip.mp3
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…

sarry1979apr26_sidea_clip.mp3
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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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…

igor youslevitch.jpg
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…

Kolpakova, Irina _Aurora.jpg
Irina Kolpakova is a Russian ballet dancer, choreographer, and teacher. She trained at the Leningrad Choreographic School before becoming the prima ballerina at the Kirov Ballet (now Mariinsky Ballet). She went on to choreograph and teach at the…

haydee1979jul04_sidea_clip.mp3
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 in…

Tankard_Meryl_1986_A.mp3
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…

ananiashvili.jpg
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…

Ananiashvili_Seymour.jpg
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…

nora kaye.jpg
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…

wilde1979jun05_sideb_clip.mp3
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…

Thomas, Richard _11949_Edith Brozak McMann.jpg
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…

Toni Lander.jpg
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…

lazowsky1979mar22_sideb_clip.mp3
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…
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