Download Dance Anecdotes: Stories from the Worlds of Ballet, by Mindy Aloff PDF

By Mindy Aloff

Mindy Aloff, a number one dance critic who has written for The state, the hot Republic, and The New Yorker, has introduced jointly right here a wonderful booklet of news by way of and approximately dancers--entertaining and informative anecdotes that trap the boundless type and richness of dance as an artwork, a practice, a career, a hobby, an obsession, a truth, and, for the dancer, a fantastic. George Balanchine is right here, and so are Fred Astaire, Margot Fonteyn, Rudolf Nureyev, Savion Glover, Martha Graham, and Lola Montez, and in addition stars from different arts--such as Akira Kurosawa and Bob Dylan--who have spoken approximately dancing with wit or illumination. There are tales approximately Irene and Vernon fortress, Cyd Charisse and Gene Kelly, Bob Fosse and Gwen Verdon, Paul Taylor and Mark Morris. We examine the aura and spontaneity of Anna Pavlova, concerning the mystery to Vaslav Nijinsky's luck (''I labored like an ox and that i lived like a martyr''), approximately George Balanchine racing to a union dispute with a bag of dimes. the various tales are a laugh, yet a few are rueful, even unhappy, and some are darkish. Aloff concludes the quantity with an essay approximately how dancing has been in a position to checklist its earlier, occasionally over centuries, and approximately how the paintings of the dancer, it sounds as if as ephemeral in functionality as cloud styles, seems, whilst stipulations are hospitable, to be even more hardy and resilient than many of us think. a wonderful prom of reports that reach way back to classical occasions and as a long way afield as Japan, India, and Java, this terrific assortment might be precious by way of every person who loves dance, no matter if younger or previous.

Show description

Read Online or Download Dance Anecdotes: Stories from the Worlds of Ballet, Broadway, the Ballroom, and Modern Dance PDF

Best dance books

Street Scenes: Late Medieval Acting and Performance

Highway Scenes offers a conception of past due medieval performing and function via a clean and original analyzing of the Tretise of Miraclis Pleyinge. The functionality conception viewpoint hired the following, in addition to the exam of actor/character dialectics, paves the best way to understanding either non secular theatre and the complexity of past due medieval theatricalities.

Choreographing Difference: The Body and Identity in Contemporary Dance

The choreographies of invoice T. Jones, Cleveland Ballet Dancing Wheels, Zab Maboungou, David Dorfman, Marie Chouinard, Jawole Willa Jo Zollar, and others, have helped determine dance as a vital discourse of the 90s. those dancers, Ann Cooper Albright argues, are asking the viewers to determine the physique as a resource of cultural id -- a actual presence that strikes with and during its gendered, racial, and social meanings.

The Remix Manual: The Art and Science of Dance Music Remixing with Logic

Are you able to flip a soulful ballad right into a hit dance tune, or make any Billboard hit your personal? With this all-in-one advisor to remixing, you could! no matter if you are a expert DJ or manufacturer, or are only commencing to combine tracks, this step by step advisor will carry you thru the full strategy of making your personal professional-quality remixes.

Always More Than One

In constantly multiple, the thinker, visible artist, and dancer Erin Manning explores the idea that of the "more than human" within the context of flow, belief, and event. operating from Whitehead's method philosophy and Simondon's thought of individuation, she extends the options of flow and relation built in her past paintings towards the thought of "choreographic pondering.

Additional info for Dance Anecdotes: Stories from the Worlds of Ballet, Broadway, the Ballroom, and Modern Dance

Sample text

I don’t know if this is what you want,” I said. I did the dance, and afterward Graham said, “Oh, it’s fine. ” (Merce Cunningham) —Copland, p. 41 On Vagina Envy I know my dances and technique are considered deeply sexual, but I pride myself in placing onstage what most people hide in their deepest thoughts. . ” . . Not that my frank descriptions haven’t gotten me into more than a little trouble. On our first tour of Asia, in Tokyo, one of my chorus girls had wandered off with several American sailors and was nowhere to be 28 DA N C E A N E C D O T E S found for the matinee performance.

CAVETT: The phone didn’t ring? ASHTON: The phone didn’t ring, not a single offer or anything. So I had to start all over again, so to speak. CAVETT: That ballet is not in the repertory? ASHTON: Oh, no, no, no, good gracious. Much too trivial. It was a sort of number in a revue, really, but still it was the beginning. CAVETT: What was it about? I imagine it as being something in which a model murders the—someone with some scissors. ASHTON: No, I was the couturier, who tried to launch a model which nobody liked, and then in despair I cut myself with scissors.

It is doubtful if she could have survived some of the extremes of pressure, which frequently descended upon her, had she been otherwise, and it surely requires a great complexity of resource to suggest simplicity, without appearing merely simplistic; a rare art, in fact. (Keith Money, biographer) —Daneman, p. 578 Simplicity II Margot Fonteyn Arias The entire legend on the bronze plaque in the cemetery outside Panama City, where the ballerina’s ashes are interred at the foot of the tomb of her husband, Tito Arias.

Download PDF sample

Rated 4.06 of 5 – based on 13 votes