Theatre Library Association
SYMPOSIUM II
New York University
Kimmel Center for University Life
Shorin Music Performance Center
(directions)
Friday, February 16, 2007
9:00 AM – 5:00 PM
Performance Reclamation:
Research, Discovery, and Interpretation
Bibliography
Acocella, Joan. "The lost Nijinsky." The New Yorker 77.10 (2001): 94.
Acocella discusses attempts to revive Nijinsky's forgotten ballets, such as "The Rite of Spring" and "Till." What is so depressing about the Millicent Hodson-Kenneth Archer Nijinsky reconstructions is their indifference to dance as an autonomous art form, with its own logic.
Barnes, Clive. "Reconstructions: Dead ducks do not fly." Dance Magazine 73.8 (1999): 102.
Can choreography that has apparently been irretrievably lost be revived, can it be--for the process is hardly anything less--resurrected from the dead? And if so, how?
"Conference to discuss dance preservation." The New York Times, 14 October, 1992: B5.
Dance Reconstructed is the focus of a conference held at Rutgers Arts Center, New Brunswick, New Jersey.
Edgecombe, Rodney Stenning. "Notes on 'Giselle' and 'Paquita': the probable authorship of the E-major variation in Act 1 of 'Giselle' and problems arising from the Grand Pas from 'Paquita'." Dance Chronicle 22.3 (1999): 447 (6 pages).
This article presents notes on the historical background of two ballet pieces, a ballet music recording and a video recording and points out flaws in the assertion that the video recording of the Kirov company performance of the Grand Pas in 'Paquita' is a re-creation of the 1881 version.
Fanger, Iris. "Re-creating Corsaire." Dance Magazine 73.6 (1999): 66 (4 pages).
Boston Ballet and American Ballet Theatre's hit revival of Le Corsaire is dance's answer to the spectacles of Broadway and Hollywood.
Ginsburg, Amy and James Penrod. "New work and reconstructed work In the context of dance repertory." Dance Research Journal 29.1 (1997): 1-16
Both new and reconstructed work in dance repertory should focus on developing in students the awareness that dance has a cultural context. Dance repertory emerges from specific conditions of time and place. When students have specific experience with the processes at work in the development of repertory, dance education's vitality is enhanced.
Houston, Lynn. "Bodies of history and historical bodies: Baryshnikov and the Judson legacy." PAJ: A Journal of Performance and Art 23.3 (2001): 13-19.
This article discusses 'Past Forward,' a collection of dance pieces performed by members of the Judson Dance Theater, for White Oak Dance Project's 2001 season. The 11-year-old company was formed by Mikhail Baryshnikov and Mark Morris with the goal of reconstructing or restoring experimental dance pieces from the 1960s and 1970s; the author compares the history of Judson's experimental choreography with the historical value of Baryshnikov's body to dance, asserting that his role in the traditional institutions of dance lend an air of legitimacy to experimental dance choreography and brings in a broader audience because of his popularity.
Hunt, Marilyn. "Massine wins a new generation of admirers." Dance Magazine 66.1 (1992): 24-25.
Leonide Massine's classic symphonic ballet 'Choreartium' has been revived by the Birmingham Royal Ballet of England. Choreographer Tatiana Leskova's treatment of the classic has garnered rave reviews.
Hunt, Marilyn. "Nijinska revival continues: restoring a lost work." Dance Magazine 69.10 (1995): 74-77.
The Oakland Ballet is reviving 'Bolero,' a piece choreographed by the great Bronislava Nijinska in 1928. Nina Youshkevitch, who danced the piece with Nijinska's Monte Carlo company, is reconstructing the work.
Lewis, Kristin. "Graham restage." Dance Teacher 26.3 (2004): 24.
The culmination of a groundbreaking historical reconstruction project, the Legacies: Dance in the 20th Century and Beyond concert at the University of Colorado (UC) at Boulder brings together UC dance students, two professional companies, and choreography spanning 75 years of dance history, including Graham's "Heretic".
Macaulay, Alastair. "Resurrections of the swan." TLS. Times Literary Supplement, 13 Oct 2000: 18.
Issues are presented concerning the difficulties of reconstructing ballets which were made famous by a particular dancer or dancers. The roles played by Rudolf Nureyev and Margot Fonteyn in 'Marguerite and Armand' are discussed.
McGrath, Charles. "An Edwardian drama gets a Mametian makeover." The New York Times 10 December 2006: 2:2.
Mamet's adaptation of Granville Barker's play The Voysey
Inheritance, includes trimming the five act play to two acts, cleaning up some of the language, and changing the ending.
Mckinley, Jesse. "Whale according to Welles: A Long Island Tale." The New York Times 2 September 2005: E:2.
Tony Walton's reconstruction and production of Orson Welle's adaptation of "Moby Dick".
Midgette, Anne. "Classical music." The New York Times 23 October 2005: 43.
The Orchestra of St. Luke's offers Robert Levin's reconstruction of the "Requiem" with Donald Runnicles and The Atlanta Symphony Chamber Chorus.
Murphy, Ann. "Examining decades of Bay area dance." Dance Magazine 75.4 (2002): 36-38.
Dance has flourished in the San Francisco Bay Area since the beginning of the twentieth century, and the area has been the site for many notable moments in the art form's history. This month, historian Joanna Harris intends to bring that past to life when she launches Bay Area Dancing: Documenting a Living Legacy, a project to culminate in 2004 or 2005 with a publication and a DVD that will include dance reconstructions and archival film footage.
Nevile, Jennifer. "Cavalieri's theatrical ballo "O che nuovo miracolo": A reconstruction
dance chronicle." New York 21.3 (1998):353 (36 pages).
Researchers have little information on sixteenth-century Italian court dance. The information is usually found in collections of dances written for a small number of courtiers to perform for personal enjoyment at informal gatherings. Dancing was a major part of the magnificent festivities organized for public events. Lacking evidence suggests that the structure of these dances are rare.
Ostlere, Hilary. "Bob Fosse redux." Dance Magazine 70.10 (1996): 86 (2 pages).
Ann Reinking, protege of the late Bob Fosse, is reviving Fosse's choreography in 'Chicago' for a return to Broadway, and playing the lead role. She has also choreographed the revival of 'Applause,' is working on a ballet for Ballet Hispanico, and directs the Musical Theatre Project in Tampa, FL.
Philp, Richard. "Sacre: the Joffrey connection." Dance Magazine 61 (1987): 49-51.
Robert Ballet reconstructs Vaslav Nijinsky's choreography of Sacre du Printemps.
Rockwell, John. "Witty leaps and landings of an earthbound charmer." The New York Times 19 December 2005: E5.
Boston Conservatory student tribute to Murray Louis.
Siegel, Marcia B.. "Humphrey's legacy: loss and recall." Dance Research Journal 28.2 (1996): 4-9.
Preserving and reconstructing the choreography of Doris Humphrey will be difficult, even though many sources exist to aid preservation, ranging from the dance notation known as Labanotation, to film and video of past performances, written descriptions of the dance and the memories of dancers who have performed it. Reconstruction will probably never be exact, but that is not a tragedy because dance should evolve, should speak to different audiences. Doris Humphrey's work deserves preservation both for its own sake and as a source of inspiration for other choreographers.
Siegel, Marcia B. " Matriarchal mysteries." The Hudson Review 49:1 (1996): 97 (7 pages).
In the 1930s Doris Humphrey and the dance company she founded with Charles Weidman significantly influenced modern dance. Despite attempts to reconstruct her dance, she remains a mystery as a choreographer, in part because of her constant search for new choreographic themes. Humphrey ensured that many of her dances were notated and filmed and permitted others to teach and perform them. However, interpretation of Humphrey's technique and performing style lacks a central approach, a problem that was evident at her centennial anniversary celebrations held in New York during the fall of 1995. The centennial raises issues concerning dance preservation.
Simonson, Robert. "Stage children." The New York Times 11 September 2005: 8.
Off Broadway's Peccadillo Theater Company's specializes in plays that have been forgotten by the public and often have to deal with the playwright's children as critics.
Solway, Diane. "How 'Cotillon' was reborn." The New York Times 23 October, 1988: H18(N) pH18.
Reconstruction of lost George Balanchine ballet by Joffrey Ballet.
Steinbreder, H. "Mozart graces Julliard program." Dance Magazine 65.11 (1991): 12 (2 pages).
Jullliard School Dance Division, as part of its contribution to the Mozart bicentennial, will present three 18th and 19th century dances set to music of Mozart, restaged from early dance manuscripts and performed in period costumes. Wendy Hilton and Elizabeth Aldrich, experts in historical dance reconstruction, are responsible for the revivals.
Sulcas, Roslyn. "Honoring rebels with a social agenda." The New York Times 16 August 2005: E7.
Details American Dance Legacy Institute's attempts to research and reconstruct nearly-forgotten works; article focuses on the New Dance Group, a collective of dancers, choreographers, and teachers from the 30's, 40's, and 50's whose members included Donald McKyle.
Tobias, Tobi, Donald Bradburn, and Margaret Willis. "Dancescape." Dance Magazine 67.5 (1993): 10 (2 pages).
Includes notes on the Royal Ballet Company's revival of Frederick Ashton's ballet 'Tales of Beatrix Potter'.
Tobias, Tobi. " Press rewind: It's Mark Morris in miniature." The New York Times 5 March 2006: Section 2 p27.
Morris, who is opposed to formal dance notation, relies on himself, videotapes of the productions, and the original dancers as instructors in order to teach the choreography of his dances to new interpreters.
Tracy, Robert. "Maxwell's silver: Limon lives through Carla's passionate preservation." Dance Magazine 77.7 (2003): 24.
Carla Maxwell, artistic director of The Limon Dance Company, celebrates her 25th year as the troupe's leader, and her latest project, the reconstruction of Limon's treasured work "Psalm," received standing ovations and rave notices across the country.
Wick, Nancy. "Ex-Limon dancer re-creates There is a Time." University Week, 19 January, 2006.
The University of Washington's Chamber Dance Company recreates Jose Limon's 'There is a Time' with assistance from former Limon dancer Sarah Stackhouse.
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