Tudor's Scrapbook of Memories

When I daydream about Antony Tudor, I instantly picture his signature works: Leaves Are Fading, Dark Elegies and Jardin Aux Lilas. But with successful creation comes clear instruction; something I often forget when “cooing” over great choreography.

 

In 1951, Tudor became the Director of the Metropolitan Opera Ballet and one of the first faculty members in the dance department at The Juilliard School. After 12 years at the Met Opera, he remained on faculty at Juilliard and traveled around the world to teach.

 

Now, two years after his centennial celebration, The Antony Tudor Ballet Trust has released a book and DVD set commemorating his life. The book feels like a scrapbook of memories, collaged with photos and hand written entries of those that were closest to him. On video, students from New York Theatre Ballet and American Ballet Theatre’s Jacqueline Kennedy Onassis School demonstrate ballet combinations and dancers of ABT II and The Juilliard School perform excerpts of his work. What resonates most is Tudor’s importance as a teacher. The theme, from the barre to the stage, centers around his life as an educator. It’s about the finesse of Tudor—how he taught and how that molded his work.

 

“Once there was a ballerina who lifted her legs behind her ears—literally behind her ears. He stood himself in front of her and said: ‘This is not poetry, darling.’” says Pina Bausch in the book.

 

The book and DVD set is available on The Trust’s website. All proceeds will be donated toward an endowed Tudor scholarship at The Juilliard School. http://www.antonytudor.org/store.html

 

Latest Posts


Left to right: Dance Theatre of Harlem's Daphne Lee, Amanda Smith, Lindsey Donnell and Alexandra Hutchinson in a scene from Dancing Through Harlem. Derek Brockington, Courtesy Dance Theatre of Harlem

Dancers Share Their Key Takeaways After a Year of Dancing on Film

Creating dances specifically for film has become one of the most effective ways that ballet companies have connected with audiences and kept dancers employed during the pandemic. Around the world, dance organizations are finding opportunities through digital seasons, whether conceiving cinematic, site-specific pieces or filming works within a traditional theater. And while there is a consistent sentiment that nothing will ever substitute the thrill of a live show, dancers are embracing this new way of performing.

Keep reading SHOW LESS

#TBT: Mikhail Baryshnikov in "Fancy Free" (1981)

In Jerome Robbins's 1944 ballet Fancy Free, three sailors on leave spend the day at a bar, attempting to woo two young women by out-dancing and out-charming one another. In this clip from 1981, Mikhail Baryshnikov, who was then both the artistic director of American Ballet Theatre and a leading performer with the company, pulls out all the stops to win the ladies' affections.

Keep reading SHOW LESS
Bethany Kirby, Courtesy Tulsa Ballet

An Infectious-Disease Physician on What Vaccines Mean for Ballet

As the coronavirus pandemic grinds into its second year, the toll on ballet companies—and dancers—has been steep. How long before dancers can rehearse and perform as they once did?

Like most things, the return to normal for ballet seems to hinge on vaccinations. Just over 22 percent of people in the U.S. are now vaccinated, a way from the estimated 70 to 85 percent experts believe can bring back something similar to pre-pandemic life.

But what would it mean for 100 percent of a ballet company to be vaccinated? Tulsa Ballet artistic director Marcello Angelini is about to find out—and hopes it brings the return of big ballets on the big stage.

"I don't think companies like ours can survive doing work for eight dancers in masks," Angelini says. "If we want to work, dance, and be in front of an audience consistently and with the large works that pay the bills, immunization is the only road that leads there."

Keep reading SHOW LESS

Editors' Picks