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660:, and had difficulties demonstrating the steps to Taylor. Taylor, who originated a long solo, found Balanchine's process "a complete switch" from Graham, "The speed and craft in which he works are astounding, the rehearsal time being used economically, none if it taken up by explanations of concepts, poetic imagery, or motivation." Taylor was used to dancing Graham's plot-driven choreography, and initially struggled with Balanchine's more abstract concept. He also found the musicality and movement vocabulary to be more challenging than Graham's choreography. Fearing he would forget the complex choreography, Taylor would go home immediately after each rehearsal to draw stick figures and write notes for himself.
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624:. Wilson recalled that in rehearsals, Graham would stop rehearsals and let everyone meditate. Graham also explained the symbols in the choreography, "each thing was weighted carefully." Graham initially gave Wilson ballet steps, despite knowing little about them. Wilson then asked Graham to give her modern dance steps. Though Graham was glad about this request, she remained unsure whether Wilson could dance it, and other dancers assisted Wilson. She said the result of her dancing in the manner of Graham was "marvelous." She added that the Graham dancers "were thrilled that I could actually move my back – they had expected a
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635:, she did not have ultimate control over all elements. Instead, she had to follow Balanchine's concept and the NYCB mode of working, where multiple choreographers share rehearsal schedules. She also clashed with Kirstein numerous times, especially regarding the designs of the ballet. NYCB was under union regulations and all costumes and sets must be made under legal contracts and at union shops, but Graham attempted to circumvent this. Graham was more cordial with Balanchine, and found him "so wonderful to work with, considerate and concerned – a joy to be with."
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classically trained ballet dancer," that would be impossible for NYCB dancers to master in a short amount of time, forcing the plan to be abandoned. However, another Graham biographer, Ernestine
Stodelle, wrote an account of Graham shutting herself in her studio, listening to the music day after day, "even though at the time she had no idea of dancing the role of the Scottish Queen with her company, believing one of the NYCB dancers would perform it." Kane was more persuaded by Stodelle's account, due to an interview Graham gave to
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phrase is densely packed with complicated moves – knotted arrangements that, spatially, all stay in one small spot. Very few of them come from the traditional ballet vocabulary, and when they do, are usually reshaped into flex-footed versions or inverted." Balanchine gave Taylor the imagery of a fly in a glass of milk, and Taylor in turn thought of a fly stuck in a "deadly vortex of its own making... an epigram about self-ordained patterns and death."
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Most movements are brief, often using only one part of the body at a time. The groups move fugally, in imitation (more or less freely) of the restatements of the musical object." Dance historian Angela Kane believed that
Balanchine's choice of music for the closing section "was to highlight distinctions between past and present, both in terms of musical lineage from Bach's
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taking over as Mary. In 1965, Balanchine suggested Graham to have both companies revive both parts of the ballet for NYCB's fall season. She declined due to a scheduling conflict with her company, but she was open to such revival, "I hope your invitation will stand and that it can still take place at
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first season, Martin wrote, "What has done is powerful, brilliant and well within the established conventions of her highly personal medium. Balanchine, on the other hand, has pushed his own equally characteristic approach into uncharted fields." Dance historian Angela Kane, however, found that some
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member who performed as a guest artist. As both Taylor and Frame died in 2018, Furlan taught the solo to
Trusnovec. The two watched videos of Frame dancing the solo in both 1986 and 1989, and found significant differences on the choreography between the two videos. Believing that the 1986 version is
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He had two ideas of using Webern's music for a ballet that were abandoned, before deciding to use all seven of Webern's orchestral compositions, which last under an hour together. Kirstein then suggested having Graham contribute on the choreography. Graham was approached about the ballet by
Kirstein
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The ballet ends with the
Ricercata, danced by two principals and a corps de ballet of thirteen women. Author Nancy Reynolds commented, "In contrapuntal manner, each dance movement – by a block of the ensemble or the soloists – is an equal component of the whole stage picture at any single moment.
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commented, "The white-clad dancer was called upon to clutch himself, wrap himself up and tie himself into such perverse knots that his number seemed almost a defiant demonstration by
Balanchine that he could be as crazy as any 'modern' choreographer or dancer in existence." Taylor described, "Each
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Though the ballet is conceived as a collaboration, the two choreographers mostly worked on their parts separately. Graham said, "Collaboration was really not the term." Graham was set to choreograph the long opening and closing of the ballet, with
Balanchine choreographing the rest. However, this
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Webern's orchestral music fills the air like molecules; it is written for atmosphere. The first time I heard it, I knew it could be danced to. It seemed to me like Mozart and
Stravinsky, music that can be danced to because it leaves the mind free to see the dancing. In listening to composers like
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begins with
Symphony, op. 21. It is danced by two lead dancers and three other couples.| Balanchine described, "As the music starts, dryly and carefully. The boys touch the girls on the shoulder; they join hands then, pose briefly, and begin to move together. One couple leads the others but soon,
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I was listening to a couple of people talking. Somebody asked the difference between modern dance and ballet and how would someone know between the two. So the other one said, "Oh, they will be in bare feet in modern dance and they will be flexing their feet with just tights on—no costumes." Of
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described the two dancers "in total darkness, each under a separate spotlight... Their steps were hieratic, angular, with splayed, trapped movements and tangled deadweight arms, and they were engrossed with each other but disconnected, with a musical but no narrative arc. At one point in this
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There are conflicting accounts over whether Graham deliberately avoided working with NYCB dancers. Don McDonagh's biography stated that Graham raised her objection to the plan by using "all of the virtuosic skills inherent in the Graham technique, which would be exceptionally difficult for a
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and Six Pieces, op. 6, are Webern's earlier works, that are more orchestrated compared to his later works. The dancers are dressed in full 16th-century costumes. The set features a black platform at the back of the stage, decorated with heraldic symbols, with a black box at the center.
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called the ballet "a truly remarkable creation." He commented on Graham's choreography, "the invention is superb and uncannily revelatory." As for
Balanchine, Martin wrote, "The style in which he worked is a miracle of creativeness, far beyond anything he has done previously."
480:, in which he attacked Graham. Despite his continued dislike of modern dance, he acknowledge in 1937 that he "was unequipped for her simplicity and self-blinded by her genuinely primitive expression." A collaboration between Balanchine and Graham was first pitched by painter
628:." Graham created two versions of choreography for Wilson, one performed in the ballet's initial run in spring 1959, which Wilson thought was "less interesting", and another performed later that year, described as "much more in style, when she realized I could do more."
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Beethoven and Brahms, every listener has his own ideas, paints his own picture of what the music represents. How can I, a choreographer, try to squeeze a dancing body into a picture that already exists in someone's mind? It simply won't work. But it will with Webern.
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by Balanchine. Initially, Graham was to choreograph on her dancers then teach the ballet to NYCB dancers. However, after Balanchine attended a Graham rehearsal, they clashed over what she had choreographed, with many instances of dancers on their knees and
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After Taylor's solo was cut from the ballet in 1961, he offered to teach it to whomever Balanchine chose, though Balanchine never took up this offer. It was not performed until 1986, three years after Balanchine's death, when Taylor reconstructed it for
298:, whom she had never met, was her cousin and enemy, and had signed the warrant for her execution. Miss Graham's choreography is a kind of dramatic fantasia about Mary Stuart's ultimate pride, about the façade of royalty and what must have been behind it.
939:. Taylor appeared at the New York City Ballet for two more seasons as a guest artist to dance his solo. In 1961, Taylor's part in the ballet was removed. He was invited to join NYCB, but chose to focus on his choreographic career and
1046:, Taylor's solo was included. Frame taught the solo to the company's dancers, based on an archival video of him dancing the solo in 1989, though he did not let the dancers watch the video, and only showed them photographs of Taylor.
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ultimately "designed and executed" costumes for the entire ballet, as credited in the program. David Hays designed the set and lighting. The legal contract for the co-production, signed less than a month before the premiere, stated
1039:, he relied on his notes and photographs to teach the solo to Frame. Taylor removed knee works that would be dangerous to Frame's ballet-trained body. Frame continued to perform the solo until 1989, a year before his retirement.
590:. To understand it, she stayed in her studio and "played it and moved to it day after day after day", occasionally calling a principal dancer in for private work, before she began working with the full company. She studied
608:, who was Webern's favorite poet. Graham said she "found my articulation" from the two. Later, Graham realized she needed more music, so Balanchine gave her Six Pieces, op. 6, which he had already begun choreographing.
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In the lead-up to the premiere, the ballet drew significant media attention and was described as "historic", due to contributions from leading choreographers of two different genres of dance. Walter Terry wrote in the
386:, and excluded from most stagings of the ballet. The solo is danced barefoot, and has three sections. The first two feature the same choreography, albeit danced to different music and with different intentions. Author
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during the 1950s. Kirstein, keen to work with Taylor, had previously invited Taylor to work on two projects, one as a choreographer and one as a dancer, but neither came into fruition. Balanchine was suffering from
339:, he "had try to paint or design time with bodies in order to create a resemblance between the dance and what was going on in the sound." He used four of Webern's later works, written after he began exploring
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Graham also starred as Mary, with a stand-in in rehearsals. Early in the creation process, she expected an NYCB dancer to perform the role. Four NYCB dancers appeared alongside the Graham company, including
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noted, "Vastly different in their approaches, both Balanchine and Graham were remarkably successful at illuminating Webern's sparse, mostly atonal scores—perhaps the world's unlikeliest music for dancing."
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was completely the opposite. Martha's company were the ones in shoes and full costumes; Balanchine's New York City Ballet were in tights, flexing their feet and arms. Somebody must have been very confused!
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The third part, set to Concerto, op. 24, is also a pas de deux, with four women accompanying the two dancers. Balanchine described, "The boy moves the girl as the composer moves his instrument."
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co-production was never revived again was the "choreographic contradictions between the two parts", in addition to "conflicting company politics, working practices and performance schedules."
379:, who originated the female role, called the section "a dance conversation," and the role "a continuation of his interest in the abstract use of the body and the man manipulating the woman."
616:, who originated the role of Elizabeth I, as well Kenneth Peterson, Bill Carter and Paul Nickel, who had smaller roles in the ballet. Graham did not want to partner an NYCB dancer and cast
675:, and nearly completed the pas de deux when Graham asked for more music. According to d'Amboise, Balanchine's vision of the pas de deux was " version of first man and first woman," like
548:. It was then decided that the two choreographers would primarily work with their respective companies, while at Kirstein's suggestion, incorporate each other's dancers in their halves.
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section, the man, as Homans described, lifts the woman "upside down on his back with her legs split like antler's horns around his head, which now seemed to emerge from her crotch."
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instead. Graham dancer Linda Hodes recalled that Graham was hesitant about accepting the commission, but believed it was due to Graham's rejection of ballet traditions. The title,
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In 1980, Graham significantly revised the choreography, with more focus on the two queens, and Mary's three lovers removed. The solos were also rechoreographed.
282:, the man she most loved, was her third husband; determined to be King, he had used her to serve his ambition and treated her, so the court said, 'like a drab'.
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just as the instrumentation shifts and develops, the other pairs react to the music differently. The dance is about the music, it is meant to look that way."
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right after they ate the apple. Balanchine then made another pas de deux for Adams and d'Amboise, to Five Pieces, op. 10, and abandoned his original vision.
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has unfortunately not been seen for some years. It is our hope that one day it will be danced again." Kane speculated that the main reason why the complete
523:, which Kirstein believed to carry the "essence of Martha's spirit." Graham, unable to respond to this but still interested in the collaboration, suggested
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1010:, with the choreography significantly revised. Though the NYCB allowed Graham to use the original costumes by Karinska, her company used new costumes by
1031:, then a soloist at the NYCB. Taylor cast Frame after spotting him at a company class, which Taylor was invited to observe by co-ballet master in chief
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194:. Starting in 1960, Balanchine's section is presented as a standalone piece, with Taylor's solo removed the following year. Since then, Balanchine's
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style to Webern's progressive serialism, and also between Graham's historical 'fantasia' and Balanchine wanting to move forward choreographically."
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in December 1935. He suggested to the two choreographers and Kirstein that they collaborate on "an evening's spectacle involving three archetypes:
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has not been seen in full since 1959, and the Graham section had only been revived once, in 1980, with the choreography significantly revised.
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described it as an 'homage by dancers to a great composer." In performances of the complete ballet, a five-minute intermission occurs between
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Graham's biographer Don McDonagh stated Graham soon lost interest in the ballet after the premiere. The Graham company and NYCB performed
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plan "did not work out practically of theatrically," according to Graham. The two choreographed the two halves of the ballet instead,
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In 2020, NYCB performed the solo again. It was alternated between Furlan, who had since joined NYCB, and Michael Trusnovec, a former
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was performed in full. Starting in 1960, the Balanchine choreography is presented as a standalone piece, at the time under the title
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in January 1959, and he spoke about "key characters of feminine distinction" for her to dance. He thought about an interpretation of
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278:. It takes place at the scaffold and the characters are men and women who might well have been in the Queen's last thoughts.
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had been revived by both NYCB and other ballet companies, with Taylor's solo performed in a few rare instances. The complete
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closer to the original, they restored some steps back to the solo. NYCB excluded the solo from the ballet again in 2022.
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NYCB had never danced Graham's choreography, though Kirstein did consider it as early as May 1959, potentially with
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Prior to giving Six Pieces, op. 6 to Graham, Balanchine had spent four days choreographing to the score as a
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owned "all rights to the use of the title" and exclusive rights to Graham's choreography for three years.
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of the New York critics expressed their preference for Graham's contribution over Balanchine's.
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Previously, Graham only worked with her own dancers and followed her own schedule. However, for
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The project was officially announced in late March, as part of NYCB's spring season that year.
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was choreographed by Graham, for dancers from her company and four NYCB members, and depicts
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in addition to Graham, while McDonagh's only interviewee involved in the ballet was Graham.
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reported, "news of historical importance to the international dance field has been made."
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2206:"Remembering Peter Frame, Former New York City Ballet Principal & Beloved Teacher"
1991:"Dance: 'Episodes'; A Challenging Work Choreographed Jointly by Graham and Balanchine"
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a time when we are not burdened as at present." Balanchine wrote in his 1977 book
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was first announced to be the designer of Graham's costumes, but NYCB costumer
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respectively, they ultimately worked separately on the ballet's two halves.
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and Raymond Preston's biographies on Mary, and was inspired by two poets,
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together again during NYCB's 1959 winter season, which was the last time
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2076:"Boston Ballet – Shades of Sound: Chroma, Episodes, Black Cake – Boston"
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The second part, set to Five Pieces, op. 10, is a pas de deux. Author
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instead. Henceforth, the Balanchine ballet is presented as simply
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Variations, op. 30 is a solo that was originated by Graham dancer
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444:(Left to right) Anton Webern, Martha Graham and George Balanchine
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2100:"Miami City Ballet "Triple Threat" Soars, With Occasional Slips"
1394:"Drop a Fly in a Glass of Milk. What Do You Get? A Knotty Dance"
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Dance Research: The Journal of the Society for Dance Research
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2119:"Suzanne Farrell Ballet – Mozartiana, Episodes – Washington"
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choreographer, and usually worked with her own company, the
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Repertory in Review: 40 Years of the New York City Ballet
1972:"Ballet: 'Episodes' Bows; Graham-Balanchine Work Arrives"
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remembering the events in her life before her execution.
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In the 1950s, Balanchine began listening to music by
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George Balanchine: Ballet Master : a Biography
1922:Craine, Debra; Mackrell, Judith (August 19, 2010).
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1360:. University Press of Florida. p. 133-134.
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1883:. Knopf Doubleday Publishing. p. 202-204.
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1042:In 2014, when the Miami City Ballet performed
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152:. The ballet was a co-production between the
16:Ballet by Martha Graham and George Balanchine
1857:"Dancer And Choreographer Restore Lost Solo"
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3240:Cultural depictions of Mary, Queen of Scots
2394:Deep Song: The Dance Story of Martha Graham
1282:"Dance: Graham's 'Episodes' and 'Pussycat'"
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2187:"George Balanchine, 79, Dies In New York"
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2677:Divertimento from "Le Baiser De La FĂ©e"
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1327:Mr. B: George Balanchine's 20th Century
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507:. Balanchine spoke about Webern's works
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3145:Variations Pour une Porte et un Soupir
2476:on the George Balanchine Trust website
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2315:""Episodes" (1959): Entente Cordiale?"
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2204:DeSantis, Marissa (August 30, 2018).
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2242:Gray, Jonathan (October 11, 2022).
2223:Jacobs, Julia (September 1, 2018).
2098:Roca, Octavio (February 19, 2014).
2047:Neufeld, James (October 23, 2011).
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3245:Cultural depictions of Elizabeth I
2421:. University of Pittsburgh Press.
881:premiered on May 14, 1959, at the
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14:
3271:
3094:Tschaikovsky Piano Concerto No. 2
2835:Movements for Piano and Orchestra
2457:
1392:Kourlas, Gia (February 4, 2020).
531:, came from Tchelitchew's pitch.
462:in 1948. Meanwhile, Graham was a
2418:Private Domain: An Autobiography
2185:Kisselgoff, Anna (May 1, 1983).
682:
520:Alice's Adventures in Wonderland
434:
425:
416:
210:The program for the premiere of
29:
3255:Ballets set in the 16th century
2235:
2216:
2197:
2178:
2137:"La résurrection de Cendrillon"
2129:
2110:
2067:
2040:
1982:
1960:
1942:
1091:
1073:
450:Balanchine worked primarily in
3235:Ballets based on actual events
3230:New York City Ballet repertory
2074:Helms, Alan (March 24, 2015).
1925:The Oxford Dictionary of Dance
1786:. Doubleday. p. 234-235.
883:City Center of Music and Dance
402:
313:
192:City Center of Music and Dance
86:City Center of Music and Dance
1:
1989:Martin, John (June 7, 1959).
638:
255:
140:is a ballet choreographed by
3220:Ballets by George Balanchine
2391:Stodelle, Ernestine (1984).
1107:
1050:danced it on opening night.
977:Les Grands Ballets Canadiens
7:
3052:Symphony in Three Movements
2821:Metastaseis and Pithoprakta
2173:Balanchine & Mason 1977
2143:(in French). April 5, 2007.
1928:. OUP Oxford. p. 155.
1245:Balanchine & Mason 1977
748:, Linda Hodes, Akiko Kanda
730:Elizabeth, Queen of England
468:Martha Graham Dance Company
331:The program only described
154:Martha Graham Dance Company
98:Martha Graham Dance Company
10:
3276:
3021:Stravinsky Violin Concerto
2716:L'enfant et les sortilèges
2349:Martha Graham: a biography
2258:
3188:
3014:The Steadfast Tin Soldier
2972:Slaughter on Tenth Avenue
2609:Brahms–Schoenberg Quartet
2538:A Midsummer Night's Dream
2527:
2268:; Mason, Francis (1977).
1055:Paul Taylor Dance Company
991:, "Miss Graham's part of
961:National Ballet of Canada
798:
794:Bill Carter, Paul Nickel
697:
581:
408:Background and conception
270:Miss Graham's section of
206:Choreography and analysis
119:
107:
93:
70:
60:
46:
28:
23:
3215:Ballets by Martha Graham
3139:Variations for Orchestra
3101:Tschaikovsky Suite No. 3
3087:Tschaikovsky Pas de Deux
2597:Le Bourgeois Gentilhomme
2053:. Dundurn. p. 432.
1066:
1008:Metropolitan Opera House
2828:Monumentum pro Gesualdo
2352:. David & Charles.
959:, Berlin Opera Ballet,
923:Subsequent performances
571:New York Herald Tribune
222:. Most performances of
94:Original ballet company
3250:Ballets set in England
3080:Le Tombeau de Couperin
2672:Divertimento Brillante
2442:. Limelight Editions.
2436:Tracy, Robert (1997).
2346:McDonagh, Don (1974).
1950:"Music: Atonal Ballet"
1082:The Ballet Annual 1960
973:Suzanne Farrell Ballet
874:Premiere and reception
514:
470:, and had created the
328:
300:
286:(her second husband),
262:The program described
253:
75:May 14, 1959
3210:1959 ballet premieres
3158:Walpurgisnacht Ballet
3039:Symphonie Concertante
2965:The Seven Deadly Sins
2879:Pas de Trois (Minkus)
2874:Pas de Trois (Glinka)
2742:The Four Temperaments
2630:Le chant du rossignol
2331:10.3366/dar.2007.0020
2313:Kane, Angela (2007).
953:Dutch National Ballet
604:referenced Mary, and
509:
454:, and co-founded the
349:twelve-tone technique
323:
268:
244:
148:, to compositions by
3260:Biographical ballets
3073:Theme and Variations
2770:Hungarian Gypsy Airs
2696:Donizetti Variations
2480:Variations On A Solo
1062:Notes and references
817:Five Pieces, op. 10
706:Mary, Queen of Scots
525:Mary, Queen of Scots
456:New York City Ballet
354:The Musical Offering
296:Elizabeth of England
174:Mary, Queen of Scots
158:New York City Ballet
102:New York City Ballet
2924:Raymonda Variations
2804:Liebeslieder Walzer
2758:Haieff Divertimento
2683:Divertimento No. 15
2566:Le baiser de la fée
2298:. Hamish Hamilton.
1712:, pp. 215–216.
1596:, pp. 256–257.
1584:, pp. 205–206.
1230:, pp. 196–197.
1161:, pp. 117–119.
845:Variations, op. 30
839:Nicholas Magallanes
452:neoclassical ballet
276:Mary Queen of Scots
166:neoclassical ballet
128:neoclassical ballet
3034:Sylvia Pas de Deux
2946:Scherzo Ă la Russe
2939:Davidsbündlertänze
2937:Robert Schumann's
2849:Noah and the Flood
2583:Ballo della Regina
2397:. Schirmer Books.
2266:Balanchine, George
2229:The New York Times
2191:The New York Times
1995:The New York Times
1976:The New York Times
1875:d'Amboise, Jacques
1861:The New York Times
1398:The New York Times
1286:The New York Times
1280:(April 25, 1980).
1022:Paul Taylor's solo
693:Principal dancers
606:Rainer Maria Rilke
588:Passacaglia, op. 1
329:
304:Passacaglia, op. 1
3197:
3196:
3007:Stars and Stripes
2931:Requiem Canticles
2797:Kammermusik No. 2
2603:Bourrée fantasque
2552:Allegro Brillante
2521:George Balanchine
2022:, pp. 65–66.
2010:, pp. 64–65.
1853:Dunning, Jennifer
1833:, pp. 61–62.
1821:, pp. 88–89.
1755:, pp. 62–64.
1646:, pp. 58–59.
1507:, pp. 55–56.
1483:, pp. 54–55.
1471:, pp. 66–67.
1324:(November 2022).
969:Miami City Ballet
868:
867:
863:Francisco Moncion
831:Concerto, op. 24
825:Jacques d'Amboise
812:, Jonathan Watts
806:Symphony, op. 21
786:Kenneth Peterson
690:Roles / sections
673:Jacques d'Amboise
576:Dance and Dancers
482:Pavel Tchelitchew
345:Arnold Schoenberg
156:and Balanchine's
146:George Balanchine
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2654:Concerto Barocco
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230:. Graham dancer
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741:The Four Marys
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2458:External links
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2376:. Dial Press.
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1880:I Was a Dancer
1866:
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1823:
1811:
1809:, pp. 62.
1799:
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1778:Graham, Martha
1769:
1767:, pp. 64.
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1733:
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2274:. Doubleday.
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2016:
2009:
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1909:, p. 65.
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1729:Reynolds 1977
1725:
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1706:
1699:
1698:McDonagh 1974
1694:
1692:
1685:, p. 55.
1684:
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1672:
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1658:, p. 69.
1657:
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1633:
1628:
1626:
1618:
1617:Stodelle 1984
1613:
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1594:McDonagh 1974
1590:
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1582:Stodelle 1984
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1566:
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1522:Stodelle 1984
1518:
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1494:
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1470:
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1457:Reynolds 1977
1453:
1447:, p. 91.
1446:
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1434:
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1357:Once a Dancer
1353:
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1347:
1339:
1337:9780812994308
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1262:Stodelle 1984
1258:
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1228:Reynolds 1977
1224:
1217:
1216:Stodelle 1984
1212:
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1204:Reynolds 1977
1200:
1198:
1191:, p. 60.
1190:
1185:
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1176:, p. 58.
1175:
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1147:Reynolds 1977
1143:
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711:Martha Graham
709:
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680:
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3000:Square Dance
2998:
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2733:
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2141:Radio-Canada
2140:
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2079:
2069:
2049:
2042:
2015:
2003:
1994:
1984:
1975:
1968:Martin, John
1962:
1953:
1944:
1924:
1879:
1869:
1860:
1826:
1814:
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1783:Blood Memory
1782:
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869:
835:Allegra Kent
799:
778:Dan Wagoner
746:Ethel Winter
723:Bertram Ross
698:
677:Adam and Eve
662:
642:
632:
630:
618:Bertram Ross
610:
599:
592:Stefan Zweig
585:
575:
569:
566:
553:Cecil Beaton
550:
540:
536:
533:
528:
518:
515:
510:
501:Anton Webern
498:
475:
464:modern dance
449:
393:
381:
377:Allegra Kent
374:
366:
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271:
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266:as follows,
263:
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235:
232:Ethel Winter
227:
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219:
215:
211:
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199:
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187:
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177:
169:
162:modern dance
150:Anton Webern
136:
135:
134:
124:modern dance
65:Anton Webern
39:
18:
2690:Don Quixote
2325:(1): 4–25.
2035:Taylor 1999
1819:Taylor 1999
1710:Buckle 1988
1541:Buckle 1988
1493:Taylor 1999
1445:Taylor 1999
1433:Taylor 1999
1414:Buckle 1988
1302:Buckle 1988
1098:Ib Andersen
1029:Peter Frame
941:his company
937:Episodes II
908:John Martin
849:Paul Taylor
821:Diana Adams
800:Episodes II
669:Diana Adams
665:pas de deux
645:Paul Taylor
596:T. S. Eliot
541:Episodes II
490:Don Quixote
403:Development
384:Paul Taylor
361:Episodes II
337:Episodes II
333:Episodes II
315:Episodes II
240:Episodes II
228:Episodes II
220:Episodes II
182:Paul Taylor
178:Episodes II
36:Paul Taylor
3204:Categories
3172:Who Cares?
3132:Variations
3113:Union Jack
3066:Tarantella
2897:Pulcinella
2869:Pas de Dix
2842:Mozartiana
2810:Meditation
2648:Concertino
1741:Tracy 1997
1558:Tracy 1997
1159:Tracy 1997
855:Ricercata
791:2 Heralds
774:Chastelard
699:Episodes I
639:Balanchine
601:East Coker
537:Episodes I
292:Chastelard
264:Episodes I
257:Episodes I
236:Episodes I
216:Episodes I
170:Episodes I
115:David Hays
79:1959-05-14
3028:Swan Lake
2993:La source
2643:Clarinade
2339:194106172
2248:Gramilano
2161:Kane 2007
2123:DanceTabs
2080:DanceTabs
2020:Kane 2007
2008:Kane 2007
1907:Kane 2007
1831:Kane 2007
1807:Kane 2007
1765:Kane 2007
1753:Kane 2007
1683:Kane 2007
1671:Kane 2007
1656:Kane 2007
1644:Kane 2007
1632:Kane 2007
1505:Kane 2007
1481:Kane 2007
1469:Kane 2007
1189:Kane 2007
1174:Kane 2007
1126:Kane 2007
1108:Citations
658:arthritis
651:disciple
649:Cecchetti
546:floorwork
341:serialism
3120:La Valse
2986:Sonatine
2958:Serenade
2914:Ragtime
2904:Ragtime
2776:Ivesiana
2723:Episodes
2661:Coppélia
2623:Chaconne
2473:Episodes
2465:Episodes
2415:(1999).
2370:(1977).
2292:(1988).
1877:(2011).
1780:(1981).
1354:(2009).
1086:Episodes
1044:Episodes
1016:Episodes
1004:Episodes
997:Episodes
993:Episodes
951:include
949:Episodes
945:Episodes
933:Episodes
929:Episodes
916:Episodes
887:Episodes
879:Episodes
870:Source:
718:Bothwell
633:Episodes
622:Bothwell
557:Karinska
529:Episodes
486:Don Juan
326:Episodes
280:Bothwell
272:Episodes
249:Episodes
247:course,
224:Episodes
212:Episodes
200:Episodes
196:Episodes
188:Episodes
137:Episodes
112:Karinska
71:Premiere
40:Episodes
24:Episodes
3179:Zenobia
3107:Tzigane
2863:Orpheus
2577:Ballade
2517:Ballets
2259:Sources
1037:notated
1012:Halston
1006:at the
754:Darnley
397:baroque
284:Darnley
77: (
2884:Pavane
2790:Jewels
2709:Élégie
2616:Bugaku
2572:Le Bal
2559:Apollo
2446:
2425:
2401:
2380:
2356:
2337:
2302:
2278:
2210:Pointe
2057:
1932:
1887:
1790:
1364:
1334:
764:Riccio
626:ramrod
582:Graham
494:Hamlet
288:Rizzio
108:Design
3059:Tango
2590:Bayou
2335:S2CID
1954:Times
1067:Notes
894:Times
458:with
120:Genre
61:Music
2545:Agon
2444:ISBN
2423:ISBN
2399:ISBN
2378:ISBN
2354:ISBN
2300:ISBN
2276:ISBN
2055:ISBN
1930:ISBN
1885:ISBN
1788:ISBN
1362:ISBN
1332:ISBN
975:and
671:and
667:for
290:and
238:and
218:and
164:and
144:and
2519:by
2327:doi
620:as
347:'s
38:in
3206::
2916:II
2333:.
2323:25
2321:.
2317:.
2246:.
2227:.
2208:.
2189:.
2149:^
2139:.
2121:.
2102:.
2088:^
2078:.
2027:^
1993:.
1974:.
1952:.
1914:^
1899:^
1859:.
1838:^
1717:^
1690:^
1663:^
1624:^
1601:^
1548:^
1529:^
1512:^
1421:^
1406:^
1396:.
1376:^
1309:^
1294:^
1284:.
1269:^
1252:^
1235:^
1196:^
1181:^
1166:^
1133:^
1116:^
1018:.
979:.
971:,
967:,
963:,
955:,
889:.
861:,
837:,
823:,
492:,
488:,
2906:I
2509:e
2502:t
2495:v
2452:.
2431:.
2407:.
2386:.
2362:.
2341:.
2329::
2308:.
2284:.
2250:.
2231:.
2212:.
2193:.
2125:.
2106:.
2082:.
2063:.
1997:.
1978:.
1938:.
1893:.
1863:.
1796:.
1400:.
1370:.
1340:.
1288:.
242:,
81:)
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