modern dance (11 Ergebnisse)

44 pages. Illustrated. Stanley Dance interviews Marshall Royal / John Howe "Bobby Jasper In London" / Steve Voce "Big Bill In Concert" / Ken Gallagher and Bill Fairweather "Sir Charles Thompson" / Michael Gibson "Art Taylor" / Martin Williams "The Inevitable Form in Modern Jazz" / Record Reviews / Superb period advertisements . (M24).

London, Octopus, 1974. 4°. 144 S. durchgehend mit teils farbigen Abbildungen. OPpbd. m. OUmschl., in gutem Zustand. Sprache: eng.

Frühes s/w-Originalporträtfoto (sehr jung), eigenhändig signiert.

Zustand: Fine. KOS01300369.

Zustand: Fine. Number of books: 1 book.

2pp, 4to. On two letterhead leaves with border in blue. The following endorsement printed at the foot of each leaf: 'ANNA PAVLOVA wrote after visiting the School: "It is with pleasure that I record the very good impression made on me both by the School and your method of training. I wish you the fullest success which I think your School deserves"'. Einert begins her letter: 'Miss Coury Dear: - | It is impossible to feel that I have really met you for the first time today, for I have spoken of you regularly for the last ten months, and given so many "messages from Auntie Margot" that I truly feel I have known you all this time! | This note is partly personal and partly "job" . . but in case the telephone address is that of your relations, I shall leave this at Blundellsands on my way over to Southport, for the other Kiddies Show, I am working today.' Beginning with the personal she writes: 'I adore this work and have felt we were working together all the time. Mr Webster asked me to meet you at the Savoy last June-July, but that very morning I was off to Switzerland', so it is only on the day of writing that 'the tremendous pleasure of working actually WITH you come along'. She feels that Coury has 'created that atmosphere of complete sympathy with the children which made the response natural, sincere and gentle. There wasnt a rough child among the 204!' She continues with reference to Coury's signing of 'all those pictures and books' ('you were a real dear'), and of her gift to Einert, before turning to 'work': 'we have the four "Colour Teams" with captains etc.; we have the first and second Club News, with your writings declaimed . . . we have all the under sevens as "Nero Members" who wear badges of the famous Nero, and enact his adventures . . and we dramatise every possible bit of your writings.' She continues with reference to a piece called 'The Three Witches', 'Club Keep-Fit Exercises, which are great fun when 124, (as at last meeting) do them together to a jolly tune, and the Nero Members have a definite series of Baloon [sic] Exercises which they do most beautifully with big coloured baloons'. She describes 'a Fun Club Meeting' and asks her to come to one. Coury appears to write children's stories for department stores in London, and Einert asks whether she might incorporate 'a fun club morning' in one of these: 'I am very often in Town, and would enjoy the chance. Before I came to Liverpool, I had a studio in Hampstead'. She has 'twenty one classes a week, for kiddies in different types of dancing and exercising, quite aside from Fun Club etc, so it seems as though my place were here at the present. Also I have crossed the Atlantic twenty two times and have many American games etc, which I have acquired while working in New York, and which are real "ice-breakers" for the kiddies until an atmosphere is created.' Also present is an unsigned carbon typescript of Coury's reply, 21 December 1936: 'It was quite obvious to me that you adored your work. You can have no idea of your influence over those children. The word magnetic is quite applicable [.] how original of you to make the children read the magazine at the Meetings! You are most certainly the living link between the magazine and the Club. [.] You would be a riot in London during the party season. [.] With regard to the Fairy Corner Club, I will mention you to the Managing Director of the White House, and suggest a party in the Spring. I should like to hold it at one of the leading hotels.'.

Zustand: Good. INSCRIBED & SIGNED BY JEROME ROBBINS' FIRST DANCE INSTRUCTOR ALYS E. BENTLEY - Small quarto, 8-1/2 inches high by 6-7/8 inches wide. Light blue cloth titled in black on the front cover and the spine. The covers are lightly stained with wear to the corners and spine. 142 pages of music and lyrics with profuse illustrations throughout. There is some occasional soiling, particularly to the rear endpaper and pastedown, and a short tear to the bottom of page 19. Good. RARE Signed First edition.Inscribed & signed by the author Alys E. Bentley. The inscription, dated 1914, appears to read "For Miss Lilla", possibly the music educator Lilla Belle Pitts (1884-1970).A teacher of dancing and music in Washington and New York City, Alys E. Bentley (1869-1951) taught in Carnegie Hall's largest studio. She taught the various aspects of "rhythmics" as related to the arts and taught such prominent artists as Geraldine Farrar, Mary Ellis and the American dancer, choreographer and film & theater director Jerome Robbins. As director of public school music in Washington, Bentley introduced choral singing and published several music books, including her own collection of songs which she set to music. In addition to teaching in Washington and at Carnegie Hall, she also taught at her Summer camp on Chateaugay Lake in Merrill, NY where Sherwood Anderson, among others, came to study each Summer.Jerome Robbins studied modern dance with Alys Bentley while in high school and she had a strong influence on him. She encouraged her students to improvise steps to music and Robbins said of her that "what [she] gave me immediately was the absolute freedom to make up my own dances without inhibition or doubts.".

Zustand: Very good. - Letter penned in blue ink and filling 1-1/4 sides of a sheet of her 11-inch high by 8-3/8-inch wide personalized letterhead with her name & address printed at the top. Signed "Jean Erdman". The corners of the letter are lightly creased with a pinhole in the top left corner & the top right corner slightly darkened. Folded twice for mailing. Very good. Erdman writes regretting that she is unable to attend Rugg's Wednesday Luncheon Forums at Teachers College of Columbia University. "I wish that I could manage to control my activities so that I would be free to participate in such interesting-sounding gatherings. When I talked with Mr. [Nik] Krevitsky a few weeks ago, I thought that my schedule would allow me to come, but since then I have discovered that Wednesdays must needs be used up in rehearsals with my dance company."The two greatest influences on dancer and choreographer Jean Erdman [b. 1916] were Joseph Campbell and Martha Graham. She married Campbell in 1938 and became a principal dancer in Martha Graham's company. She later toured the U.S. with her own company, and as a solo artist toured India and Japan, the first dancer to do so since World War II. In 1962 she began what was to become her best-known work, "The Coach with Six Insides", an adaptation of James Joyce's "Finnegan's Wake'".Harold Rugg [1886-1960] was a professor of education at Teachers College of Columbia University. A civil engineer, he became interested in how students learn and pursued a doctorate in education. He was responsible for producing the first series of school textbooks from 1929 until the 1940s.

A collection of six photographs of Murray Louis Dance Company productions from the 1970s, with another portrait of Louis. The productions include Go Six, Personnae, Calligraph for Martyrs (two images), and Hoopla. A fine collection. Six photographs measuring 8 x 10 inches. Fine condition.

THE DANCE the story of the dance told in pictures and text, by John Martin dance critic of The New York Times Tudor Publishing Company, New York 1946, 160 SS. gebunden (Hardcover 4°, dkl.-bl. Oln. mit silberner Titelillustration einer Tänzerin), gut erhalten - von John Martin auf dem Vorsatz in Tinte eigenhändig signiert.

First Edition. Original lithograph, 63 x 41 inches, printed in black and red on white stock. Professionally conserved, backed on rice paper with minor areas of cleaning and restoration; Near Fine. Signed in matrix, lower right. A spectacular and large performance poster by the noted Art Deco designer and illustrator Major Felten (1904-1975). Undated, but after 1930 (when Shawn and Ruth St. Denis dissolved their Denishawn Company and Shawn established his own modern dance troupe, Ted Shawn and His Dancers, sometimes billed as Ted Shawn and His Men Dancers). Apparently rare, with only a single example noted at auction, none catalogued in institutional collections (as of October 2023).