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Magician and Muses

Magician and Muses

"Balanchine's Mozartiana - The Making of a Masterpiece"

 by Robert Maiorano and Valerie Brooks

 Freundlich Books, New York, 1985

 

by George Jackson

copyright 2020 by George Jackson  

 

Not new, this book about the making of a ballet remains an important item of danced literature. Its principal author, Robert Maiorano, was a dancer with New York City Ballet for 15 years, beginning in 1961. For the company's Tchaikovsky Festival in 1981, Maiorano asked Balanchine's permission to attend rehearsals for his announced new "Mozartiana" that would be premiered at the  festival's opening. Balanchine gave his consent. Maiorano, although he had written on his own previously, enlisted journalist Valerie Brooks as co-author. They wrote not for each other but together. As a dancer, Maiorano had a dash of Edward Villella's drive and a drop of Helgi Tomasson's elegant finish as part of his observant, efficient manner. Relating what went on at the Mozartiana rehearsals and premiere, the authors give us description, explanation, suspicions and some fascinating asides. 

Undressed or Corseted

“Naked Truth – Viennese Modernism and the Body”
by Alys X. George
University of Chicago Press, 2020

Reviewed by: George Jackson
(copyright 2020 by George Jackson)

Look carefully at the picture on the cover of this book. It shows a naked woman dancing. Her face is turned away so that only part of her profile appears. Her torso seems somewhat flattened, like that of an ancient Egyptian image. The arms and hands are held lightly away from  the body’s center of gravity. The lines of the long legs are bent slightly at the knees. She gives the impression of moving forward, to our left. Oddly, this woman is not even Viennese, but the German dancer Claire Bauroff (1895-1984). Still, the author is trying to make a point: that the body in its totalities was focal in Vienna from ca. 1870 to 1938. Bodies included cadavers that were being dissected at Vienna’s famous medical school and lively ones dancing at the city’s ballrooms and cafes. Vienna’s professional ballet dancers elegantly arched their feet, the women wearing pointe shoes and, for classwork, transparent white socks over the toe shoes so that the teacher could readily spot and correct cramped stances. Under their costumes or practice garb, the ballet women wore corsets or girdles. Bauroff is barefoot on the book’s cover, yet my guess is that her delicate toes have had pointework training. The imprint of such instruments as corsets and toe shoes isn’t easily erased from the flesh.  

Hybrid

"Out Loud, a Memoir"

by Mark Morris and Wesley Stace
Penguin Press, New York, 2019

 

by George Jackson

copyright George Jackson 2020

 

This book is a cross between an autobiography by dancer, choreographer, dance company director and opera stager Morris and a biography of Morris by novelist and recording artist Stace. I am fairly familiar with Morris's work but had not before encountered any of Stace's. The writing took place when Morris (born 29 August 1956) was 62 years old - mature but, presumably, not at career's end. 

A Tribute

"Ave Maria" 

 dance solo choreographed in 1914 by Michio Ito
  to music composed in 1825 by Franz Schubert
   performed by Christin Arthur
    set by Dana Tai Soon Burgess  
     dedicated to the late Ruth Bader Ginsburg of the USA's Supreme Court

It is a slow dance, mostly for the upper body. Watching it, one is ever more aware of independent motions that belong to the head and face, to the neck, to the shoulders and arms plus hands, and to the rib cage above the waist. Yet one is also certain that these parts of  the human anatomy are animated by one soul existing in a sea of light and shade.  The camera shows us the dancer's whole body only briefly. She is dressed in blue, as painters have depicted this figure of motherhood, womanhood and humanity. She takes barely more than one step, but that suffices.

Christin Arthur dances the solo simply. Ruth Bader Ginsberg (1933 -2020) took the time from her work to attend performances of opera, ballet and drama. These works of art broadened her perspective as a judge.

George Jackson
(copyright 2020 by George Jackson)

 

 

http://dtsbdc.org/ave-maria-by-michio-ito-dedicated-to-ruth-bader-ginsburg/ 

 

 

"Marius Petipa - The Emperor's Ballet Master"
by Nadine Meisner
Oxford University Press, 2019

reviewed by George Jackson
copyright 2020 by George Jackson

Our concept of classical ballet stems mostly from the work of Marius Petipa (1818 - 1910), a French choreographer resident principally in Russia at the end of the Czarist era. Until the publication of Meisner's biography, personal information in English about Petipa was somewhat scarce. As a reader of German, I relied on Eberhard Rebling's "Marius Petipa, Master of Classical Ballet", printed 1975 in what was East Berlin. Rebling's 430 page collection contains texts by Petipa (his formal memoirs, spontaneous diary, diverse letters etc.) and opinions about him by contemporaries and by important successors (Nijinska, Balanchine, Ashton, Grigorovitch et alia). It is an expansion of a Russian volume, “Marius Petipa, Materiali Wospominanija Stati” printed 1971 by the Leningrad branch of Iskusstwo Publishers.

Lifar Lied to Himself?

"The Fascist Turn in the Dance of Serge Lifar"
by Mark Franko
Oxford University Press, UK, 2020

by George Jackson
copyright George Jackson 2020

Before tackling this exhaustive and exhausting book about the controversial Serge Lifar by Mark Franko, who is a widely published critic and a professor at the University of California's Santa Cruz campus, I suggest that readers review what is generally known about Lifar (1905 - 1986) as a dancer, choreographer, company director, commentator on dance and as a person. I encountered Lifar directly in 1948, when he brought his Paris Opera Ballet to tour the USA. The company was large. Its training seemed admirably uniform. Stylistically, though, many Americans found the dancing "mannered". The choreography and dramaturgy, mostly by Lifar, seemed old fashioned compared to Antony Tudor's psychodramas or George Balanchine's neoclassicism. 

Dunas's Denby

Book: Edwin Denby – His Life, His Dance Essays, His Poetry
Author: William Dunas
Publication: 2008 in Woodside, NY, USA

by George Jackson
(copyright 2020 by George Jackson)  

This home-made book is a proposal for producing a professionally printed book. The proposal consists of many un-numbered pages of text contained in a black 3-ring folder. The text is photocopied only on the frontside of each sheet of firm white paper. On the cover is the basic bibliographic information and a 1964 drawing by Red Grooms of Denby in profile - he is typing. Dunas calls the book a “publishing fellowship proposal manuscript”. It is unlikely that the proposed book will ever become actual, yet the proposal serves as an autobiography of Dunas and a biography of Denby. The Dunas portion is amusing, somewhat confusing and ultimately sad. The Denby part is substantial. Who was Dunas and who was Denby?

Everything Dances

Everything Dances
Book: “Alles tanzt” issued by Andrea Amort
Published in 2019 by Vienna’s Austrian Theater Museum and Berlin’s Hatje Cantz

This big, weighty volume (almost 380 pages, 10.7 x 8.5 x 1.7 inches) has a German text with English summaries. In addition to the summaries, its plentiful and plush illustrations are proving to be of interest to those who do not read German. The book  served as catalog for the exhibit “Cosmos of Vienna Dance Modernism”. As a self-contained item, “Alles tanzt/(Everything dances)” tackles many aspects of modernism in addition to dance and does so from the late 19^th Century to nearly today. There are 3 forewords, 29 chapters and 4 addenda.  The main chapters are divided into 3 sections: the structure or anatomy of the modernist scene (Part 1), the rupture of that scene (Part 2) and aftermaths (Part 3). Topics in addition to dance that are  especially explored by the book’s diverse authors include women’s emancipation, psychology and psychoanalysis, and the political landscape.

Hedi Pope Centennial

Hedi Politzer/Pitt/Pope was born 100 years ago on March 18 in Austria. She was a pupil of Vienna’s waltzing and ballet-based modern dancers (particularly of Ellinor Tordis, Hedy Pfundmayr and the internationally renowned Grete Wiesenthal) and can be seen in the 1937 film “Silhouetten”. She fled from Austria’s 1938 annexation by Nazi Germany to the United States, where she appeared as a leading dancer in “refugee revues” that introduced European cabaret to New York’s Broadway.  She was told to forget her earlier dance training and become an American modern dancer. Is it possible, though, for the body to forget what it once danced? Hedi did acquire new skills in America, shortened her last name to Pitt and during World War 2 married an American sailor (William Pope). She founded CODA (Contemporary Dancers of Alexandria, Virginia), making it a prominent studio and company across the Potomac river from Washington, DC and, as Hedi Pope, directed it for decades. Hedi now lives at a retirement home in the mountains of North Carolina, near her daughter’s and son’s families. Happy 100^th to you, Hedi!     

(see also the tribute to Hedi P in the March issue of the on-line Austrian dance publication tanz.at)

Bits & Pieces

Demo: Now 2020
with Damian Woetzel, Jon Boogz, Robbie Fairchild,
Lil Buck, Lauren Lovette, Roman Mejia, Dario Natarelli,
Melissa Toogood,  Brooklyn Rider quartet, Kate Davis, Alberta Khoury
Eisenhower Theater
The John F. Kennedy Center for the Performing Arts
Washington, DC
March 2, 2020

 by George Jackson
copyright 2020 by George Jackson

There wasn’t the familiar sparkle. This series of highbrow vaudeville acts usually comes to a sizzling climax. Not this time. I don’t think the coronavirus can be blamed. Moreover, the program got off to a good and snappy start with “1.2.3.4.5.6”, a rhythmic phrase danced, recited and clapped by three men (Lil Buck, Robbie Fairchild, Dario Natarelli) and one woman (Melissa Toogood). Then our host and curator, Damian Woetzel, appeared and was his suave self, giving the evening a spoken introduction. What followed, though, seemed random fragments. Even variety shows need substance.

The cast of DEMO in A Story. Photo by Mena Brunette