May 19, 1965: George Balanchine examines Suzanne Farrell’s hand in rehearsals for a NYCB production of Don Quixote at New York State Theater. (Gjon Mili/The LIFE Picture Collection/Getty Images)
Filled with never before seen archival footage of Balanchine at work during rehearsals, classes, and in preparation for his most seminal works, along with interviews with many of his adored and adoring dancers and those who try to carry on his legacy today, this is Balanchine as you have never seen him, and a film for anyone who loves ballet and the creative process.
Balanchine, 1941
(Above photo by George Platt Lynes)
Known for innovating what is now called postmodern dance in the early portion of her wide-ranging career, and for her participatory choreography involving the audience, Halprin devoted her life to “expanding dance so that it’s part of life,” using it to explore social conditions and the importance of communion as well as healing, teaching the form to senior citizens and AIDS and cancer patients. In 1966
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He helped popularize ballet with an all-American style, combining the nonchalance of Fred Astaire with the nobility of a classic male dancer. Hollywood came calling, too.
I think I did my solo before I was seventeen and I was doing principal roles while I was still quarter ballet. And Freddie Ashton came to the U.S. and did a ballet for me, and then I did my first movie. I turned eighteen on the set. I just did what I wanted and had everything given to me. And in a way that was why I started National Dance Institute: I never had to audition for anything; I never had to pay for a dance class.
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A New York-born protégé of Martha Graham, he and a rich patron revolutionized dance in the U.K. with a cutting-edge new form.
He had a real artistic genius’ ability to zero in on genius in other artists, and he appreciated Balanchine at that level. As he famously said in one interview, “What makes Balanchine so extraordinary is that when you see his dances, you feel ever after as if the steps were absolutely perfect for the music, and there can be no other choreography.” It was literally as if the music was becoming flesh before his very eyes. And it was that absolute clarity and concision and complete mastery of the medium that I think struck such a responsive chord with him. In the same way that Balanchine famously said, “Ballet is woman,” I daresay Gorey would say ballet is Balanchine.
Dancer broke barriers for African Americans in the 1950s in leading roles with the New York City Ballet
George Balanchine with Suzanne Farrell and Arthur Mitchell working on ‘Slaughter on Tenth Avenue’ in 1968.
Photo by Martha Swope from the collection of the New York Public Library for the Performing Arts via
Arthur Mitchell is an African-American dancer and choreographer who created a training school and the first African-American classical ballet company, Dance Theatre of Harlem.
In 1955 Mitchell made his debut as the first African American with the New York City Ballet
Mitchell was the only African-American dancer with the NY City Ballet until 1970. Choreographer and director of the NYCB George Balanchine created the pas de deux in Agon especially for Mitchell and the white ballerina Diana Adams. Although Mitchell danced this role with white partners throughout the world, he could not perform it on commercial television in the United States before 1965, because states in the South refused to carry it.
Born on July 29, 1930, in Wilkinsburg, Pennsylvania, Paul Taylor started the Paul Taylor Dance Company in 1954 and worked with icons like Martha Graham and George Balanchine. Taylor went on to establish a massive repertory with his company and created a distinct, acclaimed mode of choreography in works like “Esplanade” and “Arden Court.”
“I had seen Paul dance for the first time shortly before we met with Edwin [Denby] and thought his choreography was one of the most surprising things I had seen as an artist. Paul’s dancing seemed to be a real break with that of the previous generation: no expression, no content, no form, as he said, and with great technique and intelligence.”
Paul Taylor proves staying power of ’70s and ’80s dance
Pictured all smiles and full of joy the dance trio Gwen Verdon, Mikhail Baryshnikov & Rudolf Nureyev in performance benefitting the Paul Taylor Dance Company ..(via)