Martha graham, p.57
Martha Graham, page 57
In an account: A. Ross, The Rest Is Noise, 97.
GO TO NOTE REFERENCE IN TEXT
“vision…from”: Daniel, Stokowski, 251–52, referencing Stravinsky’s 1935–36 autobiography, Chroniques de ma vie.
GO TO NOTE REFERENCE IN TEXT
“secret night games”: Craft, “100 Years On,” 2.
GO TO NOTE REFERENCE IN TEXT
“metrical tug-of-war”: van den Toorn and McGinness, Stravinsky and the Russian Period, 205.
GO TO NOTE REFERENCE IN TEXT
“the earliest documentation”: R. Fink, “The Rite of Spring and the Forging of a Modernist Performing Style,” 334.
GO TO NOTE REFERENCE IN TEXT
From the solitary opening: Taruskin, “Stravinsky and Us,” 261.
GO TO NOTE REFERENCE IN TEXT
“slashed the fabric”: Grondines, “The Rite of Spring: Sacrificing Continuity,” 1.
GO TO NOTE REFERENCE IN TEXT
“Adolescents/Adolescentes”: Les adolescentes is a feminine noun in French; “young girls” is a more accurate translation than “adolescents.”
GO TO NOTE REFERENCE IN TEXT
Despite his background: Doering, The Great Orchestrator, 4–8.
GO TO NOTE REFERENCE IN TEXT
“Why, Mrs. Reis”: Reis, Composers, Conductors, and Critics, 92–93.
GO TO NOTE REFERENCE IN TEXT
“I am frankly”: Typescript memorandum from Stokowski to Judson, dated September 23, 1929, in McCarthy, “1929 Philadelphia Orchestra Radio Broadcast of The Rite of Spring.”
GO TO NOTE REFERENCE IN TEXT
“The amazing thing”: Review of the Philadelphia Orchestra’s radio broadcast, Musical Leader, November 14, 1929, in McCarthy, “1929 Philadelphia Orchestra Radio Broadcast of The Rite of Spring.”
GO TO NOTE REFERENCE IN TEXT
Mrs. Reis’s next move: Hodson, “Nijinsky’s Choreographic Method,” 7–15.
GO TO NOTE REFERENCE IN TEXT
“Slavophil”: Archer, “Nicholas Roerich and His Theatrical Designs,” 5.
GO TO NOTE REFERENCE IN TEXT
“(with each swing”: Selivanova, World of Roerich, 26.
GO TO NOTE REFERENCE IN TEXT
“the old byliny”: Garafola, “The Enigma of Nicholas Roerich,” 407.
GO TO NOTE REFERENCE IN TEXT
“chooses a certain”: Berman, “Painting in the Key of Color.”
GO TO NOTE REFERENCE IN TEXT
“the intensity”: “Bonhams Offers Two Masterpieces of American Landscapes by Russian Painter in $14 Million Sale,” Art Daily, November 20, 2011, http://www.artdaily.com.
GO TO NOTE REFERENCE IN TEXT
The sacred dances: Berg, Le sacre du printemps, 82.
GO TO NOTE REFERENCE IN TEXT
“to the creative efforts”: Letter from Nicholas Roerich to Herbert Hoover, September 30, 1929, reference no. 203941, Nicholas Roerich Museum Archive.
GO TO NOTE REFERENCE IN TEXT
“Great and young”: Paelian, Nicholas Roerich, 47.
GO TO NOTE REFERENCE IN TEXT
“to give the effect”: Master Institute architect Harvey Wiley Corbett, interviewed in “West Side Hotel Has Art Museum,” New York Times, September 15, 1929.
GO TO NOTE REFERENCE IN TEXT
“confused but challenged”: Reis, Composers, Conductors, and Critics, 96.
GO TO NOTE REFERENCE IN TEXT
“eternal novelty”: Paelian, Nicholas Roerich, 109.
GO TO NOTE REFERENCE IN TEXT
In December 1920: Reis, Composers, Conductors, and Critics, 96–97.
GO TO NOTE REFERENCE IN TEXT
“entertainment manufactory”: John Martin, “The Dance: A Ballet Master Is Imported—Leonid Massine of the Diaghileff School Will Aid in Staging Presentations Here,” New York Times, December 20, 1928.
GO TO NOTE REFERENCE IN TEXT
“Ye Portals”: Melnick, American Showman, 275–77.
GO TO NOTE REFERENCE IN TEXT
“vaudevillian, razzle-dazzle”: García-Márquez, Massine: A Biography, 174.
GO TO NOTE REFERENCE IN TEXT
“asked [Massine]”: Reis, Composers, Conductors, and Critics, 96–97.
GO TO NOTE REFERENCE IN TEXT
“stupendous Danse Sacrale”: Leopold Stokowski, “Producing Stravinsky’s Ballet,” New York Times, March 23, 1930.
GO TO NOTE REFERENCE IN TEXT
“power to portray”: Armitage, Martha Graham, 35.
GO TO NOTE REFERENCE IN TEXT
“Graham is unique”: Leopold Stokowski, in Armitage, Martha Graham, frontispiece.
GO TO NOTE REFERENCE IN TEXT
“[i]t was Stokowski”: Jowitt, “A Conversation with Bessie Schonberg,” 52.
GO TO NOTE REFERENCE IN TEXT
Stokowski told Massine: “Stokowski…imposed Graham on [Massine] in the title role.” McDonagh, “Martha Graham: Fiction and Fact,” 351.
GO TO NOTE REFERENCE IN TEXT
Martha Graham was “the ideal choice”: JM, “The Dance: Two Festivals.”
GO TO NOTE REFERENCE IN TEXT
“I was chosen”: MG to Oliver Daniel, April 19, 1977, transcript, p. 5, Oliver Daniel Research Collection, Kislak Center, University of Pennsylvania Libraries.
GO TO NOTE REFERENCE IN TEXT
“Recently returned”: “Work on the Composers’ Benefit,” New York Times, February 9, 1930.
GO TO NOTE REFERENCE IN TEXT
“a major drama”: AS, Style and Idea, 104.
GO TO NOTE REFERENCE IN TEXT
“gazes”: A. Shawn, Arnold Schoenberg’s Journey, 60–62, 68.
GO TO NOTE REFERENCE IN TEXT
“We must be conscious”: Auner, “Heart and Brain in Music,” 118.
GO TO NOTE REFERENCE IN TEXT
“independent progress”: Ibid., 68; see AS, Style and Idea, 253–55: “The world of feelings is quite inseparable from the world of the intellect.”
GO TO NOTE REFERENCE IN TEXT
“a perfect gem”: Schiff, “Schoenberg’s Cool Eye for the Erotic.”
GO TO NOTE REFERENCE IN TEXT
“unrest or imbalance”: AS, The Musical Idea, 62, 281; “Arnold Schoenberg (1874–1951): Die glückliche Hand (full),” the Simon Joly Chorus and the Philharmonia Orchestra, video, 21:16, July 17, 2013, https://www.youtube.com/watch?v=3zBirxta_iQ.
GO TO NOTE REFERENCE IN TEXT
“can never perish”: AS, Style and Idea, 123.
GO TO NOTE REFERENCE IN TEXT
“nothing about the music”: AS to Emil Hertzka [ca. September–October] 1913, in AS, Sämtliche Werke, 271.
GO TO NOTE REFERENCE IN TEXT
“gestures, colors”: AS, “Breslau Lecture,” 106.
GO TO NOTE REFERENCE IN TEXT
“It’s not going to beat me”: Reis, Composers, Conductors, and Critics, 95, 100.
GO TO NOTE REFERENCE IN TEXT
“close friend ever since”: Ibid.
GO TO NOTE REFERENCE IN TEXT
“jutting forms”: Biersdorfer, “Setting the Stage with Shadows.”
GO TO NOTE REFERENCE IN TEXT
“A good scene design”: Macgowan, “Robert Edmond Jones,” 137.
GO TO NOTE REFERENCE IN TEXT
Philadelphia Grand Opera Company: On November 24, 1931, at the Metropolitan Opera House, Stokowski and Levin, Jones, and the Philadelphia Grand Opera Company rejoined forces to present the American premiere of Wozzeck, by Schoenberg’s pupil Alban Berg, starring Ivan Ivantzoff in the title role.
GO TO NOTE REFERENCE IN TEXT
MARTHA GRAHAM—headlined: King, Transformations, 58.
GO TO NOTE REFERENCE IN TEXT
At Graham’s insistence: Choreocronicle, compiled by Leighton Kerner and Andrew Wentink, addendum to McDonagh, Martha Graham, 312–14.
GO TO NOTE REFERENCE IN TEXT
“when she did move”: King, Transformations, 60.
GO TO NOTE REFERENCE IN TEXT
“Miss Grah-ham”: Jowitt, “A Conversation with Bessie Schonberg,” 54.
GO TO NOTE REFERENCE IN TEXT
“tug of war”: Reis, Composers, Conductors, and Critics, 97.
GO TO NOTE REFERENCE IN TEXT
“(I think the part”: King, Transformations, 60.
GO TO NOTE REFERENCE IN TEXT
“Did Mr. Stokowski”: Soares, Louis Horst, 87.
GO TO NOTE REFERENCE IN TEXT
“Oh, but I was angry…!”: de Mille, Dance to the Piper, 152.
GO TO NOTE REFERENCE IN TEXT
“You must dance”: Reis, Composers, Conductors, and Critics, 98.
GO TO NOTE REFERENCE IN TEXT
“eternal garment”: Public lecture by Nicholas Roerich, with exhibition of his costumes, at the Wanamaker Auditorium, March 25, 1930.
GO TO NOTE REFERENCE IN TEXT
“These are not costumes”: Jane Pritchard, “Treasures from the Sacre du Printemps,” lecture at Society of Dance History Scholars, Le Sacre at 100 Conference, Toronto, April 20, 2013.
GO TO NOTE REFERENCE IN TEXT
Graham, the Fire Dancer: Roerich was not in New York City for the premiere of The Rite of Spring; he departed in early April for a research trip to the Western Himalayas.
GO TO NOTE REFERENCE IN TEXT
“hissingly difficult”: McDonagh, “Martha Graham: Fiction and Fact,” 351.
GO TO NOTE REFERENCE IN TEXT
“[a]s rehearsals progressed”: Massine, My Life in Ballet, 178–79.
GO TO NOTE REFERENCE IN TEXT
“I’m sorry to disappoint”: García-Márquez, Massine, 211.
GO TO NOTE REFERENCE IN TEXT
“watching carefully”: Matthews, “China’s Stage Idol Comes to Broadway.”
GO TO NOTE REFERENCE IN TEXT
“To have a body”: Merleau-Ponty, The Visible and the Invisible, 189.
GO TO NOTE REFERENCE IN TEXT
“lost in the crowd”: Watkins, “The Dance’s Part.”
GO TO NOTE REFERENCE IN TEXT
“almost onto the apron”: Jowitt, “A Conversation with Bessie Schonberg,” 54.
GO TO NOTE REFERENCE IN TEXT
“a kind of pitched-forward”: Berg, Le sacre du printemps, 85.
GO TO NOTE REFERENCE IN TEXT
“opening up like a concertina”: Norton, Léonide Massine, 87.
GO TO NOTE REFERENCE IN TEXT
“couldn’t take [her]”: Jowitt, “A Conversation with Bessie Schonberg,” 54.
GO TO NOTE REFERENCE IN TEXT
Anna Sokolow believed: García-Márquez, Massine, 210.
GO TO NOTE REFERENCE IN TEXT
“attitude and power”: Lily Mehlman’s reminiscences at the MG Seminar at the Asia Society, May 19, 1988, disc 3, JRDD, *MGZMT 4-1240.
GO TO NOTE REFERENCE IN TEXT
“fully extended things”: Jowitt, “A Conversation with Bessie Schonberg,” 55.
GO TO NOTE REFERENCE IN TEXT
Before the crowd: Downes, “Stokowski Gives Contrasting Music”; JM, “The Dance: A Novel Experiment”; Daniel, Stokowski, 257.
GO TO NOTE REFERENCE IN TEXT
“theatre of synthesis”: Samuel Chotzinoff, “Music,” review of the April 22, 1930, Rite of Spring performance in New York City, New York World, April 23, 1930.
GO TO NOTE REFERENCE IN TEXT
“dance of propitiation”: Watkins, “The Dance’s Part.”
GO TO NOTE REFERENCE IN TEXT
“mistress of the mentality”: O. Holmes, Motion Arrested, 176.
GO TO NOTE REFERENCE IN TEXT
“It was a performance”: [John Martin], “Dancing by Massine Rich in Invention,” New York Times, April 24, 1930.
GO TO NOTE REFERENCE IN TEXT
“Somehow or another”: Daniel, Stokowski, 257.
GO TO NOTE REFERENCE IN TEXT
14: NORTHWEST TO SOUTHWEST
“Static in character”: Concert program, June 2, 1930, Martha Graham in Recital.
GO TO NOTE REFERENCE IN TEXT
“glove-silk shawl”: Bell-Kanner, Frontiers, 17.
GO TO NOTE REFERENCE IN TEXT
“The art [of dance]”: Soares, Louis Horst, 88.
GO TO NOTE REFERENCE IN TEXT
“of whom, it was”: E. Armstrong, “Art of Martha Graham Evokes Great Ovation.”
GO TO NOTE REFERENCE IN TEXT
“every minute”: Hays, “Dancer Wins Big Audience with New Art.”
GO TO NOTE REFERENCE IN TEXT
Raised in Spokane: Andrews and Caldbick, “Cornish College of the Arts.”
GO TO NOTE REFERENCE IN TEXT
“there were dressing”: DB, Bird’s Eye View, 15.
GO TO NOTE REFERENCE IN TEXT
“little whirlwind”: MG, “A Tribute [to Miss Cornish],” in Cornish, Miss Aunt Nellie, 270.
GO TO NOTE REFERENCE IN TEXT
“historical, folk”: Cornish, Miss Aunt Nellie, 205–6.
GO TO NOTE REFERENCE IN TEXT
“called the dance students”: Bell-Kanner, Frontiers, 10–11.
GO TO NOTE REFERENCE IN TEXT
The poised, diminutive: In an interview with Walter Terry in 1973, when she was nearly eighty, MG told him she warned her dancers, “Don’t come near me if you haven’t washed your hair within the last day.” MG, interview by Walter Terry, “The Early Years, 1973,” JRDD, *MGZTL 4-807.
GO TO NOTE REFERENCE IN TEXT
“I want you to”: Anecdotal reminiscences from MG’s summer 1930 classes at the Cornish School are drawn from these memories and reflections by Dorothy Bird, Graham’s student, and a member of her company from 1930 to 1937: “Martha Graham’s Early Technique and Dances: The 1930s,” panel discussion moderated by Deborah Jowitt, October 1, 1994, in “Martha Graham,” ed. Alice Helpern, special issue, Choreography and Dance 2 (1999): 7–13; DB, Bird’s Eye View, 15–38, 47–57; MG Seminar at the Asia Society, May 19, 1988, disc 1, JRDD, *MGZMT 4-1240; Horosko, Martha Graham, 27–29, including DB’s edited remarks from the Asia Society event; Dorothy Bird re-creating Graham technique of the 1930s, assisted by dancer/demonstrator Sharon Neverson, videorecording, March 9, 1986, filmed at the Dickerson Arts Studio, New York City, JRDD, *MGZIA 4-4510, and color-corrected rendition, Collection of the Library of Congress Motion Picture, Television and Recorded Sound Division.
GO TO NOTE REFERENCE IN TEXT
“What a pitiful sorrow”: Dué, The Captive Woman’s Lament, 1.
GO TO NOTE REFERENCE IN TEXT
Hailing from Eleusis: R. P. Martin, Myths of the Ancient Greeks, 246–53.
GO TO NOTE REFERENCE IN TEXT
“the wisdom-bringing”: MG, Notebooks, 10.
GO TO NOTE REFERENCE IN TEXT
“led by seven”: Aeschylus, Seven Against Thebes (Hecht and Bacon), 3–15.
GO TO NOTE REFERENCE IN TEXT
“he and Martha Graham”: Cornish, Miss Aunt Nellie, 206–7.
GO TO NOTE REFERENCE IN TEXT
“a semi-chorus of mourning”: See Aeschylus, Seven Against Thebes (Hecht and Bacon), 20, 25.
GO TO NOTE REFERENCE IN TEXT
“entr’acte/Dance Interludes”: Seven Against Thebes, Concert Program, July 29, 30, 31, 1930, Cornish Theatre.
GO TO NOTE REFERENCE IN TEXT
“down in the U.S.A.”: DB, Bird’s Eye View, 14.
GO TO NOTE REFERENCE IN TEXT
GO TO NOTE REFERENCE IN TEXT
“vision…from”: Daniel, Stokowski, 251–52, referencing Stravinsky’s 1935–36 autobiography, Chroniques de ma vie.
GO TO NOTE REFERENCE IN TEXT
“secret night games”: Craft, “100 Years On,” 2.
GO TO NOTE REFERENCE IN TEXT
“metrical tug-of-war”: van den Toorn and McGinness, Stravinsky and the Russian Period, 205.
GO TO NOTE REFERENCE IN TEXT
“the earliest documentation”: R. Fink, “The Rite of Spring and the Forging of a Modernist Performing Style,” 334.
GO TO NOTE REFERENCE IN TEXT
From the solitary opening: Taruskin, “Stravinsky and Us,” 261.
GO TO NOTE REFERENCE IN TEXT
“slashed the fabric”: Grondines, “The Rite of Spring: Sacrificing Continuity,” 1.
GO TO NOTE REFERENCE IN TEXT
“Adolescents/Adolescentes”: Les adolescentes is a feminine noun in French; “young girls” is a more accurate translation than “adolescents.”
GO TO NOTE REFERENCE IN TEXT
Despite his background: Doering, The Great Orchestrator, 4–8.
GO TO NOTE REFERENCE IN TEXT
“Why, Mrs. Reis”: Reis, Composers, Conductors, and Critics, 92–93.
GO TO NOTE REFERENCE IN TEXT
“I am frankly”: Typescript memorandum from Stokowski to Judson, dated September 23, 1929, in McCarthy, “1929 Philadelphia Orchestra Radio Broadcast of The Rite of Spring.”
GO TO NOTE REFERENCE IN TEXT
“The amazing thing”: Review of the Philadelphia Orchestra’s radio broadcast, Musical Leader, November 14, 1929, in McCarthy, “1929 Philadelphia Orchestra Radio Broadcast of The Rite of Spring.”
GO TO NOTE REFERENCE IN TEXT
Mrs. Reis’s next move: Hodson, “Nijinsky’s Choreographic Method,” 7–15.
GO TO NOTE REFERENCE IN TEXT
“Slavophil”: Archer, “Nicholas Roerich and His Theatrical Designs,” 5.
GO TO NOTE REFERENCE IN TEXT
“(with each swing”: Selivanova, World of Roerich, 26.
GO TO NOTE REFERENCE IN TEXT
“the old byliny”: Garafola, “The Enigma of Nicholas Roerich,” 407.
GO TO NOTE REFERENCE IN TEXT
“chooses a certain”: Berman, “Painting in the Key of Color.”
GO TO NOTE REFERENCE IN TEXT
“the intensity”: “Bonhams Offers Two Masterpieces of American Landscapes by Russian Painter in $14 Million Sale,” Art Daily, November 20, 2011, http://www.artdaily.com.
GO TO NOTE REFERENCE IN TEXT
The sacred dances: Berg, Le sacre du printemps, 82.
GO TO NOTE REFERENCE IN TEXT
“to the creative efforts”: Letter from Nicholas Roerich to Herbert Hoover, September 30, 1929, reference no. 203941, Nicholas Roerich Museum Archive.
GO TO NOTE REFERENCE IN TEXT
“Great and young”: Paelian, Nicholas Roerich, 47.
GO TO NOTE REFERENCE IN TEXT
“to give the effect”: Master Institute architect Harvey Wiley Corbett, interviewed in “West Side Hotel Has Art Museum,” New York Times, September 15, 1929.
GO TO NOTE REFERENCE IN TEXT
“confused but challenged”: Reis, Composers, Conductors, and Critics, 96.
GO TO NOTE REFERENCE IN TEXT
“eternal novelty”: Paelian, Nicholas Roerich, 109.
GO TO NOTE REFERENCE IN TEXT
In December 1920: Reis, Composers, Conductors, and Critics, 96–97.
GO TO NOTE REFERENCE IN TEXT
“entertainment manufactory”: John Martin, “The Dance: A Ballet Master Is Imported—Leonid Massine of the Diaghileff School Will Aid in Staging Presentations Here,” New York Times, December 20, 1928.
GO TO NOTE REFERENCE IN TEXT
“Ye Portals”: Melnick, American Showman, 275–77.
GO TO NOTE REFERENCE IN TEXT
“vaudevillian, razzle-dazzle”: García-Márquez, Massine: A Biography, 174.
GO TO NOTE REFERENCE IN TEXT
“asked [Massine]”: Reis, Composers, Conductors, and Critics, 96–97.
GO TO NOTE REFERENCE IN TEXT
“stupendous Danse Sacrale”: Leopold Stokowski, “Producing Stravinsky’s Ballet,” New York Times, March 23, 1930.
GO TO NOTE REFERENCE IN TEXT
“power to portray”: Armitage, Martha Graham, 35.
GO TO NOTE REFERENCE IN TEXT
“Graham is unique”: Leopold Stokowski, in Armitage, Martha Graham, frontispiece.
GO TO NOTE REFERENCE IN TEXT
“[i]t was Stokowski”: Jowitt, “A Conversation with Bessie Schonberg,” 52.
GO TO NOTE REFERENCE IN TEXT
Stokowski told Massine: “Stokowski…imposed Graham on [Massine] in the title role.” McDonagh, “Martha Graham: Fiction and Fact,” 351.
GO TO NOTE REFERENCE IN TEXT
Martha Graham was “the ideal choice”: JM, “The Dance: Two Festivals.”
GO TO NOTE REFERENCE IN TEXT
“I was chosen”: MG to Oliver Daniel, April 19, 1977, transcript, p. 5, Oliver Daniel Research Collection, Kislak Center, University of Pennsylvania Libraries.
GO TO NOTE REFERENCE IN TEXT
“Recently returned”: “Work on the Composers’ Benefit,” New York Times, February 9, 1930.
GO TO NOTE REFERENCE IN TEXT
“a major drama”: AS, Style and Idea, 104.
GO TO NOTE REFERENCE IN TEXT
“gazes”: A. Shawn, Arnold Schoenberg’s Journey, 60–62, 68.
GO TO NOTE REFERENCE IN TEXT
“We must be conscious”: Auner, “Heart and Brain in Music,” 118.
GO TO NOTE REFERENCE IN TEXT
“independent progress”: Ibid., 68; see AS, Style and Idea, 253–55: “The world of feelings is quite inseparable from the world of the intellect.”
GO TO NOTE REFERENCE IN TEXT
“a perfect gem”: Schiff, “Schoenberg’s Cool Eye for the Erotic.”
GO TO NOTE REFERENCE IN TEXT
“unrest or imbalance”: AS, The Musical Idea, 62, 281; “Arnold Schoenberg (1874–1951): Die glückliche Hand (full),” the Simon Joly Chorus and the Philharmonia Orchestra, video, 21:16, July 17, 2013, https://www.youtube.com/watch?v=3zBirxta_iQ.
GO TO NOTE REFERENCE IN TEXT
“can never perish”: AS, Style and Idea, 123.
GO TO NOTE REFERENCE IN TEXT
“nothing about the music”: AS to Emil Hertzka [ca. September–October] 1913, in AS, Sämtliche Werke, 271.
GO TO NOTE REFERENCE IN TEXT
“gestures, colors”: AS, “Breslau Lecture,” 106.
GO TO NOTE REFERENCE IN TEXT
“It’s not going to beat me”: Reis, Composers, Conductors, and Critics, 95, 100.
GO TO NOTE REFERENCE IN TEXT
“close friend ever since”: Ibid.
GO TO NOTE REFERENCE IN TEXT
“jutting forms”: Biersdorfer, “Setting the Stage with Shadows.”
GO TO NOTE REFERENCE IN TEXT
“A good scene design”: Macgowan, “Robert Edmond Jones,” 137.
GO TO NOTE REFERENCE IN TEXT
Philadelphia Grand Opera Company: On November 24, 1931, at the Metropolitan Opera House, Stokowski and Levin, Jones, and the Philadelphia Grand Opera Company rejoined forces to present the American premiere of Wozzeck, by Schoenberg’s pupil Alban Berg, starring Ivan Ivantzoff in the title role.
GO TO NOTE REFERENCE IN TEXT
MARTHA GRAHAM—headlined: King, Transformations, 58.
GO TO NOTE REFERENCE IN TEXT
At Graham’s insistence: Choreocronicle, compiled by Leighton Kerner and Andrew Wentink, addendum to McDonagh, Martha Graham, 312–14.
GO TO NOTE REFERENCE IN TEXT
“when she did move”: King, Transformations, 60.
GO TO NOTE REFERENCE IN TEXT
“Miss Grah-ham”: Jowitt, “A Conversation with Bessie Schonberg,” 54.
GO TO NOTE REFERENCE IN TEXT
“tug of war”: Reis, Composers, Conductors, and Critics, 97.
GO TO NOTE REFERENCE IN TEXT
“(I think the part”: King, Transformations, 60.
GO TO NOTE REFERENCE IN TEXT
“Did Mr. Stokowski”: Soares, Louis Horst, 87.
GO TO NOTE REFERENCE IN TEXT
“Oh, but I was angry…!”: de Mille, Dance to the Piper, 152.
GO TO NOTE REFERENCE IN TEXT
“You must dance”: Reis, Composers, Conductors, and Critics, 98.
GO TO NOTE REFERENCE IN TEXT
“eternal garment”: Public lecture by Nicholas Roerich, with exhibition of his costumes, at the Wanamaker Auditorium, March 25, 1930.
GO TO NOTE REFERENCE IN TEXT
“These are not costumes”: Jane Pritchard, “Treasures from the Sacre du Printemps,” lecture at Society of Dance History Scholars, Le Sacre at 100 Conference, Toronto, April 20, 2013.
GO TO NOTE REFERENCE IN TEXT
Graham, the Fire Dancer: Roerich was not in New York City for the premiere of The Rite of Spring; he departed in early April for a research trip to the Western Himalayas.
GO TO NOTE REFERENCE IN TEXT
“hissingly difficult”: McDonagh, “Martha Graham: Fiction and Fact,” 351.
GO TO NOTE REFERENCE IN TEXT
“[a]s rehearsals progressed”: Massine, My Life in Ballet, 178–79.
GO TO NOTE REFERENCE IN TEXT
“I’m sorry to disappoint”: García-Márquez, Massine, 211.
GO TO NOTE REFERENCE IN TEXT
“watching carefully”: Matthews, “China’s Stage Idol Comes to Broadway.”
GO TO NOTE REFERENCE IN TEXT
“To have a body”: Merleau-Ponty, The Visible and the Invisible, 189.
GO TO NOTE REFERENCE IN TEXT
“lost in the crowd”: Watkins, “The Dance’s Part.”
GO TO NOTE REFERENCE IN TEXT
“almost onto the apron”: Jowitt, “A Conversation with Bessie Schonberg,” 54.
GO TO NOTE REFERENCE IN TEXT
“a kind of pitched-forward”: Berg, Le sacre du printemps, 85.
GO TO NOTE REFERENCE IN TEXT
“opening up like a concertina”: Norton, Léonide Massine, 87.
GO TO NOTE REFERENCE IN TEXT
“couldn’t take [her]”: Jowitt, “A Conversation with Bessie Schonberg,” 54.
GO TO NOTE REFERENCE IN TEXT
Anna Sokolow believed: García-Márquez, Massine, 210.
GO TO NOTE REFERENCE IN TEXT
“attitude and power”: Lily Mehlman’s reminiscences at the MG Seminar at the Asia Society, May 19, 1988, disc 3, JRDD, *MGZMT 4-1240.
GO TO NOTE REFERENCE IN TEXT
“fully extended things”: Jowitt, “A Conversation with Bessie Schonberg,” 55.
GO TO NOTE REFERENCE IN TEXT
Before the crowd: Downes, “Stokowski Gives Contrasting Music”; JM, “The Dance: A Novel Experiment”; Daniel, Stokowski, 257.
GO TO NOTE REFERENCE IN TEXT
“theatre of synthesis”: Samuel Chotzinoff, “Music,” review of the April 22, 1930, Rite of Spring performance in New York City, New York World, April 23, 1930.
GO TO NOTE REFERENCE IN TEXT
“dance of propitiation”: Watkins, “The Dance’s Part.”
GO TO NOTE REFERENCE IN TEXT
“mistress of the mentality”: O. Holmes, Motion Arrested, 176.
GO TO NOTE REFERENCE IN TEXT
“It was a performance”: [John Martin], “Dancing by Massine Rich in Invention,” New York Times, April 24, 1930.
GO TO NOTE REFERENCE IN TEXT
“Somehow or another”: Daniel, Stokowski, 257.
GO TO NOTE REFERENCE IN TEXT
14: NORTHWEST TO SOUTHWEST
“Static in character”: Concert program, June 2, 1930, Martha Graham in Recital.
GO TO NOTE REFERENCE IN TEXT
“glove-silk shawl”: Bell-Kanner, Frontiers, 17.
GO TO NOTE REFERENCE IN TEXT
“The art [of dance]”: Soares, Louis Horst, 88.
GO TO NOTE REFERENCE IN TEXT
“of whom, it was”: E. Armstrong, “Art of Martha Graham Evokes Great Ovation.”
GO TO NOTE REFERENCE IN TEXT
“every minute”: Hays, “Dancer Wins Big Audience with New Art.”
GO TO NOTE REFERENCE IN TEXT
Raised in Spokane: Andrews and Caldbick, “Cornish College of the Arts.”
GO TO NOTE REFERENCE IN TEXT
“there were dressing”: DB, Bird’s Eye View, 15.
GO TO NOTE REFERENCE IN TEXT
“little whirlwind”: MG, “A Tribute [to Miss Cornish],” in Cornish, Miss Aunt Nellie, 270.
GO TO NOTE REFERENCE IN TEXT
“historical, folk”: Cornish, Miss Aunt Nellie, 205–6.
GO TO NOTE REFERENCE IN TEXT
“called the dance students”: Bell-Kanner, Frontiers, 10–11.
GO TO NOTE REFERENCE IN TEXT
The poised, diminutive: In an interview with Walter Terry in 1973, when she was nearly eighty, MG told him she warned her dancers, “Don’t come near me if you haven’t washed your hair within the last day.” MG, interview by Walter Terry, “The Early Years, 1973,” JRDD, *MGZTL 4-807.
GO TO NOTE REFERENCE IN TEXT
“I want you to”: Anecdotal reminiscences from MG’s summer 1930 classes at the Cornish School are drawn from these memories and reflections by Dorothy Bird, Graham’s student, and a member of her company from 1930 to 1937: “Martha Graham’s Early Technique and Dances: The 1930s,” panel discussion moderated by Deborah Jowitt, October 1, 1994, in “Martha Graham,” ed. Alice Helpern, special issue, Choreography and Dance 2 (1999): 7–13; DB, Bird’s Eye View, 15–38, 47–57; MG Seminar at the Asia Society, May 19, 1988, disc 1, JRDD, *MGZMT 4-1240; Horosko, Martha Graham, 27–29, including DB’s edited remarks from the Asia Society event; Dorothy Bird re-creating Graham technique of the 1930s, assisted by dancer/demonstrator Sharon Neverson, videorecording, March 9, 1986, filmed at the Dickerson Arts Studio, New York City, JRDD, *MGZIA 4-4510, and color-corrected rendition, Collection of the Library of Congress Motion Picture, Television and Recorded Sound Division.
GO TO NOTE REFERENCE IN TEXT
“What a pitiful sorrow”: Dué, The Captive Woman’s Lament, 1.
GO TO NOTE REFERENCE IN TEXT
Hailing from Eleusis: R. P. Martin, Myths of the Ancient Greeks, 246–53.
GO TO NOTE REFERENCE IN TEXT
“the wisdom-bringing”: MG, Notebooks, 10.
GO TO NOTE REFERENCE IN TEXT
“led by seven”: Aeschylus, Seven Against Thebes (Hecht and Bacon), 3–15.
GO TO NOTE REFERENCE IN TEXT
“he and Martha Graham”: Cornish, Miss Aunt Nellie, 206–7.
GO TO NOTE REFERENCE IN TEXT
“a semi-chorus of mourning”: See Aeschylus, Seven Against Thebes (Hecht and Bacon), 20, 25.
GO TO NOTE REFERENCE IN TEXT
“entr’acte/Dance Interludes”: Seven Against Thebes, Concert Program, July 29, 30, 31, 1930, Cornish Theatre.
GO TO NOTE REFERENCE IN TEXT
“down in the U.S.A.”: DB, Bird’s Eye View, 14.
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