496:, the dancers portrayed in the film are the original dancers, while the live performers have changed. LeWitt filmed the original dancers from various angles. Close-up shots, long shots, and overhead shots were used to create the abstract, almost ghost-like projection. The most frequent way to combine the dancers on stage to those in the film was a horizontal split-level, so the couples on stage were dancing along below the film. For the solo sections, a vertical split was used to show the front and back of the dancer at the same time. Childs describes the use of the projection as the dancers becoming the decor, the scenic element, instead of using a piece of abstract art which was the original suggestion before LeWitt came up with the idea to pair the dancers with a film.
361:âAs one of America's leading modern dance choreographers, she makes work which can often be described as conceptual dance.â While her minimalist movements were simple, the beauty in her choreography lay in her spatial exploration. Her work captivates the splendor of the different patterns the human body can create across a stage by basic repeated movements such as skipping or turning. She would create an entire performance piece based on one simple combination that would be repeated numerous times but in a different way. Whether she takes apart and reorders the combination or simply reverses it the same movements would not be repeated as they were initially introduced. Often, pieces she choreographed, such as
420:
Although the audience was not completely able to see what exactly the performers were pointing to, they could hear the explanation from a nearby audio tape. Childs discusses the performance stating that âthe result was that the spectator was called upon to envision information that existed beyond the range of actual perception...". Childs approached this piece from all different angles exploring dialect, architecture, and staging. The piece asked its viewers to look beyond what was in front of them and instead use different senses to visualize the unseen. This dance has only been performed three times, the most recent being the 2013
476:(1979), the minimalist quality of her choreography is evident. In this hour-long piece, the dancers move across the stage in pairs repeating the same balletic, geometric movements for 19 minutes and 55 seconds. Then the sequence shifts to a soloist who again, repeats the same combination of movements for 17 minutes. Each couple and soloist moves along the stage in a grid-like pattern. A projection of a filmed version of Dance (1979) allows the audience to view the piece from multiple angles at once, adding to the sense of a grid and geometric, abstract patterns.
446:(1976) was a five-hour-long production, normally beginning at six-thirty in the evening and finishing around eleven-thirty, and did not tell a story. The story was meant to be up to the audience to decide and that became an essential part of the piece itself. Childs solo in Act 1 scene i was structurally linked to the three visual and musical motifs of the opera. Childs also embodied many different characters within this solo through her gestures. The choreography for this piece came about through structured improvisation guided by Robert Wilson.
538:(2019) was set in the way of prop movement. Childs and Whelan explored how to move each prop and let that be the focus of how the rest of the movements should flow, letting the material be similar but a little different every night. The focus of props in this piece goes back to Childsâ first interest in creating movement by manipulating objects.
200:. Here, Childs worked primarily as a soloist and was allowed to explore and experiment with her own dance style and choreography. Childs states, âJudson made me interested in dance, but it also made me feel torn between different things â technique, working outside the dance vocabulary, using objects and texts.â
376:, Childs states that she is âresponding to the musicâ when she choreographs. She will listen to the music then think about all the different sequences, trying to figure out âwhere there could be musical transitions that we abide by, and where there are ones we don't abide byâ. Childs also mentioned, in
533:
Childs began choreography in the second part as it was more abstract. Each structure in the first part, with the text, took on a different meaning depending on the props used and Childs was able to drift the structures in and out of relating directly with the text or not. There were a lot of props in
419:
where her audience was the occupants of a nearby loft. The six-minute dance was based on its surroundings and the performers blended in with what was occurring on the street. Every so often they would point out different details about the appearance of the buildings and the assorted window displays.
483:
Childs had the couples on stage during this piece as she feels the couples heighten the spatial relations between the dancers and the audience. Having two dancers on stage versus one opens up and charges the space with energy. The dancers were also accompanied by a film projected on the screen in
479:
Dance (1979) was composed of three ensemble sections containing eight dancer or four couples, then there were two soloist sections. Childs first took the composition Glass had made and analyzed how the music was constructed and designed her own structure of movement to interact with it. Childs
328:
In 2009, Childs received the
Lifetime Achievement Bessie Award. She was also awarded by the French government, which designated her as among the highest rank of dancer performers. Besides her own productions, Childs has also choreographed for the Paris Opéra Ballet, Lyon Opera Ballet, Pacific
97:
movements yet complex transitions. Childs is most famous for being able to turn the slightest movements into intricate choreography. Through her use of patterns, repetition, dialect, and technology, she has created a unique style of choreography that embraces experimentation and
352:
As of 2018, The
Lucinda Dance Company has been shut down. When interviewed about the closing of her company, Childs states that âitâs almost a natural thing. Everybodyâs ready to move on". While this is not the first time her company has closed, this does appear to be the last.
400:
influenced her works. When she began her
Company in 1973, Childs was interested in âcreating dances with simple, geometrical spatial patternsâ. As such, her exploration of this topic lead to Childs creating a diagrammatical score that noted each dancerâs path.
530:, which later informed parts of the piece. Spoken word about the loss experienced at that time overlays the music. The messages were alphabetically arranged in the piece. The piece in its entirety is 30 minutes long with text coming in every six seconds.
172:. Childs describes Cunningham saying that he âelucidated a kind of particularity and clarity in dance that felt distinctly separate from anything I had experienced up to that pointâ. While studying at the Cunningham studio, Childs was introduced to
208:
Lucinda Childs choreographed steadily until 1968 when she decided to take a break and focus on her own style of dance. During this break, she experimented with her choreography exploring different methods.
442:. Up until this, her other works had all been performed in âalternative spacesâ such as churches, museums, galleries, and sidewalks. This was also the first piece that Childs had worked with a composer on.
212:
After opening her own dance company, The
Lucinda Dance Company in 1973, Childs collaborated with the likes of Robert Wilson and Philip Glass. Childs, Glass and Wilson joined together on the opera
160:
choreographer, Tamiris gave Childs her first acting job which proved to be a frightening experience for Childs. After this traumatic experience, Childs decided to focus on dance and pursued a
1416:
1471:
484:
front of the dancers. The dancers were visible from behind the screen, dancing in sync with the dancers in the film. The film aspect of this collaboration came from
223:
480:
choreographed this piece to come together with the music at points, and to counter it at others. The two structures were similar but not a true reflection.
1197:
1129:
342:
122:. LeClercq had inspired Childs to pursue dance, but Childs found that she could not execute everything perfectly. When she met the actress
1198:"Your work is very pattern-driven, precise. Are you usually reacting to the music? Or do you develop work in your head, then pair it?"
241:
176:
who encouraged Childs to show her early works at the weekly Judson workshops. During one of these workshops Childs performed a solo,
534:
the first half, and it was all mainly performed through improvisation. While not set with specific movements, the first part of
1476:
1456:
1466:
1481:
232:
1461:
1451:
1446:
322:
526:(2019) was about the idea of life after death as perceived by the Jewish religion. The piece was started around
1411:
133:
at the Perry-Mansfield of
Theatre and Dance. Childs also worked with theater director Barney Brown from the
365:(1964), were accompanied by a monologue that would explain not only her movements but what it's about.
137:. During her second year at Perry-Mansfield, Childs auditioned for Tamiris and was cast in a trio with
114:. She began dancing at the age of six at the King-Coit School. At age eleven, Childs was introduced to
1234:
952:
439:
333:
349:
At the 2017 Venice Dance
Biennial, she was awarded the Golden Lion for her lifetime achievements.
1380:
279:
in
Brussels, Belgium. In 2001, Childs choreographed Los Angeles' Opera's Production of Wagner's
164:
degree in dance. She was able to broaden her technical experience by studying with Judith Dunn,
1441:
181:
1422:
Lucinda Childs on "Carnation," MoMA Audio: Judson Dance
Theater: The Work is Never Done, 2017
507:
214:
1436:
948:
527:
489:
434:
This was the first piece Childs had performed on a traditional stage in collaboration with
308:
185:
119:
8:
397:
99:
297:
134:
115:
1402:
450:(1976) was a transition for Childs and a springboard into her most well-known piece,
291:
193:
271:
in 1995. That same year, Childs directed her first opera, a production of Mozart's
169:
165:
161:
150:
142:
83:
57:
974:
381:
263:
197:
157:
123:
488:. In the original staging, the filmed dancers were the same as on stage. In the
385:
373:
268:
257:
1407:
1358:
1333:
1301:
1261:
1107:
1430:
1421:
518:, sits on stage playing Langâs music while Whelan dances. The second part of
303:
251:
Since 1992, Childs has worked primarily in the field of opera, starting with
173:
138:
130:
111:
90:
71:
45:
943:
424:
revival. In the revival, the dancers used stop-watches for timing purposes.
218:. Childs participated as the leading performer and choreographer and won an
1090:
511:
465:
435:
421:
393:
369:
237:
189:
1360:
THE DAY - trailer Maya Beiser x Wendy Whelan x
Lucinda Childs x David Lang
1303:
Lucinda Childs/Philip Glass - Dance (1979) - Full 2014 Revival
Performance
337:
515:
389:
286:
245:
228:
I Was Sitting on My Patio This Guy Appeared I Thought I Was Hallucinating
1398:
485:
469:
276:
219:
146:
94:
416:
281:
252:
129:
Continuing her dance training, she studied with Harriet Ann Gray and
1027:
Speaking of Dance: Twelve Contemporary Choreographers on Their Craft
378:
Speaking of Dance: Twelve Contemporary Choreographers on Their Craft
301:
for the Geneva Opera Ballet. Childs choreographed John Adams' opera
1044:
184:. Rainer was also the one to encourage Childs to be a part of the
1417:
Archive film of Lucinda Childs' Chacony in 2002 at Jacob's Pillow
1290:. Middletown, Conn: Wesleyan University Press. pp. 175, 181.
1039:
Roslyn Sulcas, âDance: Freeing the Inner Childs: Talking Dancerâ
313:
86:
67:
295:
for the Scottish Opera. In 2003, Childs choreographed Ravel's
1263:
Philip Glass and Lucinda Childs discuss Einstein on the Beach
311:
in 2007. She also choreographed and directed Vivaldi's opera
1109:
Post-Show Talk: THE DAY | Jacob's Pillow Dance Festival 2019
1060:(New York: Schirmer Books, London: Collier Macmillan, 1982).
506:
Childsâ latest work was composed in two parts, composed by
230:
in 1977. Childs also originated the role of Hubert Page in
1160:
226:
for her performance. She also appeared in a show titled
1472:
Experiments in Art and Technology collaborating artists
317:
for the Opera du Rhin in 2012. Her most recent work,
1235:"A Steady Pulse: Restaging Lucinda Childs, 1963â78"
1086:
522:(2019), was âThe World to Come.â This section of
105:
1428:
1084:
1082:
1080:
1078:
1076:
1074:
1072:
1070:
1068:
1066:
415:(1964), Childs created her stage on a street in
145:to continue studying dance and composition with
1335:Philip Glass and Lucinda Childs Discuss 'Dance'
329:Northwest Ballet, and the Berlin Opera Ballet.
261:. She also choreographed Bondy's production of
126:, her ambition shifted to becoming an actress.
1063:
16:American postmodern dancer and choreographer
1029:. New York: Routledge. pp. 74, 76â78.
1024:
566:Minus Auditorium Equipment and Furnishings
203:
1288:Terpsichore in Sneakers:Post-Modern Dance
1130:"So why shut down the company again now?"
244:nomination for playing the role opposite
153:and began to focus exclusively on dance.
427:
141:. In the summer of 1959, Childs went to
93:. Her compositions are known for their
1429:
1353:
1351:
1328:
1326:
1324:
1322:
1320:
1318:
1285:
1281:
1279:
1256:
1254:
1229:
1227:
1020:
1018:
1385:online, retrieved September 25, 2008
1157:(Oxford University Press, 2000), 102
1102:
1100:
1098:
1016:
1014:
1012:
1010:
1008:
1006:
1004:
1002:
1000:
998:
546:
82:(born June 26, 1940) is an American
1221:Lucinda Childs, âNotes:â64-â74â, 33
668:Congeries on Edges for 20 Obliqueâs
332:In 2015 she played a major part in
255:'s production of Richard Strauss's
13:
1348:
1315:
1276:
1251:
1224:
14:
1493:
1392:
1179:Lucinda Childs, âNotes:â64-â74â,
1095:
995:
368:In a 2018 interview conducted by
233:The Singular Life of Albert Nobbs
1058:Biographical Dictionary of Dance
240:would later go on to receive an
1373:
1294:
1215:
1190:
1056:Barbara Naomi Cohen-Stratyner,
404:
1412:Internet Off-Broadway Database
1173:
1155:The Oxford Dictionary of Dance
1147:
1122:
1050:
1033:
888:From the White Edge Oh Phrygia
106:Personal life and early career
1:
1477:Dancers from New York (state)
1457:Sarah Lawrence College alumni
988:
323:Jacob's Pillow Dance Festival
188:in 1963 with dancers such as
1467:Musicians from New York City
7:
1482:21st-century American women
289:. In 2002, Childs directed
110:Lucinda Childs was born in
10:
1498:
1025:Morgenroth, Joyce (2004).
499:
464:In her collaboration with
380:(2004), that the works of
149:. This is where she meet
63:
53:
28:
21:
1091:Lucinda Childs Biography
541:
457:
356:
1462:American female dancers
1452:American choreographers
1447:American modern dancers
1185:Post-Modern Dance Issue
792:Portraits in Reflection
204:Later career and acting
953:Opéra National de Lyon
236:Off-Broadway in 1982.
182:Judson Memorial Church
1286:Banes, Sally (1987).
1239:danceworkbook.pcah.us
1181:The Drama Review: TDR
764:Formal Abandon Part 3
752:Formal Abandon Part 2
746:Formal Abandon Part 1
704:Einstein on the Beach
448:Einstein on the Beach
444:Einstein on the Beach
429:Einstein on the Beach
215:Einstein On The Beach
949:Ludwig van Beethoven
686:Transverse Exchanges
309:San Francisco Ballet
186:Judson Dance Theater
120:New York City Ballet
578:Cancellation Sample
398:Robert Rauschenberg
325:on August 1, 2019.
321:, premiered in the
135:Pasadena Play-House
100:transdisciplinarity
1183:, Vol. 19, no. 1,
919:Symphony of Psalms
528:September 11, 2001
1041:The Village Voice
985:
984:
292:Orfeo ed Euridice
194:Valda Setterfield
116:Tanaquil LeClercq
77:
76:
1489:
1386:
1377:
1371:
1370:
1369:
1368:
1363:, 4 January 2019
1355:
1346:
1345:
1344:
1343:
1330:
1313:
1312:
1311:
1310:
1298:
1292:
1291:
1283:
1274:
1273:
1272:
1271:
1266:, 9 October 2012
1258:
1249:
1248:
1246:
1245:
1231:
1222:
1219:
1213:
1212:
1210:
1209:
1194:
1188:
1177:
1171:
1164:
1158:
1151:
1145:
1144:
1142:
1141:
1126:
1120:
1119:
1118:
1117:
1104:
1093:
1088:
1061:
1054:
1048:
1037:
1031:
1030:
1022:
864:Chamber Symphony
822:Perfect Stranger
547:
490:2014 remount of
298:Daphnis et Chloé
170:Merce Cunningham
166:Bessie Schonberg
162:Bachelor of Arts
151:Merce Cunningham
143:Colorado College
58:Colorado College
42:
38:
36:
19:
18:
1497:
1496:
1492:
1491:
1490:
1488:
1487:
1486:
1427:
1426:
1395:
1390:
1389:
1378:
1374:
1366:
1364:
1357:
1356:
1349:
1341:
1339:
1332:
1331:
1316:
1308:
1306:
1300:
1299:
1295:
1284:
1277:
1269:
1267:
1260:
1259:
1252:
1243:
1241:
1233:
1232:
1225:
1220:
1216:
1207:
1205:
1196:
1195:
1191:
1178:
1174:
1165:
1161:
1152:
1148:
1139:
1137:
1128:
1127:
1123:
1115:
1113:
1112:, 6 August 2019
1106:
1105:
1096:
1089:
1064:
1055:
1051:
1038:
1034:
1023:
996:
991:
986:
913:Chairman Dances
758:Available Light
662:Reclining Rondo
656:Calico Mingling
650:Checkered Drift
644:Particular Reel
638:Untitled Trio 2
544:
514:. The cellist,
504:
462:
432:
409:
382:Jackson Pollock
370:Rachel F. Elson
359:
285:, conducted by
206:
198:Arlene Rothlein
180:(1963), at the
124:Mildred Dunnock
108:
49:
43:
40:
34:
32:
24:
17:
12:
11:
5:
1495:
1485:
1484:
1479:
1474:
1469:
1464:
1459:
1454:
1449:
1444:
1439:
1425:
1424:
1419:
1414:
1408:Lucinda Childs
1405:
1399:Lucinda Childs
1394:
1393:External links
1391:
1388:
1387:
1372:
1347:
1338:, 15 June 2011
1314:
1293:
1275:
1250:
1223:
1214:
1202:Dance Magazine
1189:
1172:
1166:Debra Craine,
1159:
1153:Debra Craine,
1146:
1134:Dance Magazine
1121:
1094:
1062:
1049:
1032:
993:
992:
990:
987:
983:
982:
978:
977:
967:
961:
955:
939:
937:Canto Ostinato
933:
927:
921:
915:
909:
903:
897:
890:
884:
878:
872:
866:
860:
854:
848:
842:
836:
830:
824:
818:
812:
806:
804:Hungarian Rock
800:
794:
788:
782:
776:
768:
767:
766:
760:
754:
748:
742:
736:
730:
724:
722:Interior Drama
718:
712:
710:Melody Excerpt
706:
700:
694:
688:
682:
680:Radial Courses
676:
670:
664:
658:
652:
646:
640:
634:
628:
622:
616:
610:
604:
598:
592:
586:
580:
574:
568:
562:
556:
545:
543:
540:
510:and danced by
503:
498:
461:
456:
431:
426:
408:
403:
386:Barnett Newman
374:Dance Magazine
358:
355:
343:Adam's Passion
269:Scottish Opera
205:
202:
107:
104:
80:Lucinda Childs
75:
74:
65:
64:Known for
61:
60:
55:
51:
50:
44:
30:
26:
25:
23:Lucinda Childs
22:
15:
9:
6:
4:
3:
2:
1494:
1483:
1480:
1478:
1475:
1473:
1470:
1468:
1465:
1463:
1460:
1458:
1455:
1453:
1450:
1448:
1445:
1443:
1442:Living people
1440:
1438:
1435:
1434:
1432:
1423:
1420:
1418:
1415:
1413:
1409:
1406:
1404:
1400:
1397:
1396:
1384:
1382:
1376:
1362:
1361:
1354:
1352:
1337:
1336:
1329:
1327:
1325:
1323:
1321:
1319:
1305:
1304:
1297:
1289:
1282:
1280:
1265:
1264:
1257:
1255:
1240:
1236:
1230:
1228:
1218:
1203:
1199:
1193:
1186:
1182:
1176:
1169:
1163:
1156:
1150:
1135:
1131:
1125:
1111:
1110:
1103:
1101:
1099:
1092:
1087:
1085:
1083:
1081:
1079:
1077:
1075:
1073:
1071:
1069:
1067:
1059:
1053:
1046:
1042:
1036:
1028:
1021:
1019:
1017:
1015:
1013:
1011:
1009:
1007:
1005:
1003:
1001:
999:
994:
981:
976:
975:Opéra de Nice
972:
968:
966:
962:
960:
956:
954:
950:
946:
945:
940:
938:
934:
932:
928:
926:
922:
920:
916:
914:
910:
908:
904:
902:
901:Hammerklavier
898:
895:
891:
889:
885:
883:
879:
877:
873:
871:
867:
865:
861:
859:
855:
853:
849:
847:
843:
841:
837:
835:
831:
829:
828:Four Elements
825:
823:
819:
817:
813:
811:
807:
805:
801:
799:
795:
793:
789:
787:
783:
781:
777:
775:
771:
770:
769:
765:
761:
759:
755:
753:
749:
747:
743:
741:
740:Relative Calm
737:
735:
731:
729:
725:
723:
719:
717:
713:
711:
707:
705:
701:
699:
698:Figure Eights
695:
693:
689:
687:
683:
681:
677:
675:
671:
669:
665:
663:
659:
657:
653:
651:
647:
645:
641:
639:
635:
633:
632:Untitled Trio
629:
627:
623:
621:
617:
615:
611:
609:
605:
603:
599:
597:
593:
591:
587:
585:
581:
579:
575:
573:
569:
567:
563:
561:
557:
555:
551:
550:
549:
548:
539:
537:
531:
529:
525:
521:
517:
513:
509:
502:
497:
495:
493:
487:
481:
477:
475:
471:
467:
460:
455:
453:
449:
445:
441:
440:Robert Wilson
437:
430:
425:
423:
418:
414:
407:
402:
399:
395:
391:
387:
383:
379:
375:
371:
366:
364:
354:
350:
347:
345:
344:
339:
335:
334:Robert Wilson
330:
326:
324:
320:
316:
315:
310:
306:
305:
304:Doctor Atomic
300:
299:
294:
293:
288:
284:
283:
278:
274:
270:
266:
265:
260:
259:
254:
249:
247:
243:
242:Academy Award
239:
235:
234:
229:
225:
221:
217:
216:
210:
201:
199:
195:
191:
187:
183:
179:
175:
174:Yvonne Rainer
171:
167:
163:
159:
154:
152:
148:
144:
140:
139:Daniel Nargin
136:
132:
131:Helen Tamiris
127:
125:
121:
117:
113:
112:New York City
103:
101:
96:
92:
91:choreographer
88:
85:
81:
73:
72:choreographer
69:
66:
62:
59:
56:
52:
47:
46:New York City
41:(age 84)
39:June 26, 1940
31:
27:
20:
1379:
1375:
1365:, retrieved
1359:
1340:, retrieved
1334:
1307:, retrieved
1302:
1296:
1287:
1268:, retrieved
1262:
1242:. Retrieved
1238:
1217:
1206:. Retrieved
1204:. 2018-10-27
1201:
1192:
1184:
1180:
1175:
1167:
1162:
1154:
1149:
1138:. Retrieved
1136:. 2018-10-27
1133:
1124:
1114:, retrieved
1108:
1057:
1052:
1040:
1035:
1026:
979:
970:
964:
958:
944:Grosse Fugue
942:
936:
930:
924:
918:
912:
906:
900:
893:
887:
881:
876:Commencement
875:
869:
863:
857:
851:
845:
839:
833:
827:
821:
815:
809:
803:
797:
791:
786:Field Dances
785:
779:
773:
763:
757:
751:
745:
739:
733:
727:
721:
715:
709:
703:
697:
691:
685:
679:
673:
667:
661:
655:
649:
643:
637:
631:
625:
619:
614:Museum Piece
613:
607:
601:
595:
590:Street Dance
589:
583:
577:
571:
565:
559:
553:
535:
532:
523:
519:
512:Wendy Whelan
505:
500:
491:
482:
478:
473:
466:Philip Glass
463:
458:
451:
447:
443:
436:Philip Glass
433:
428:
422:Philadelphia
413:Street Dance
412:
410:
406:Street Dance
405:
394:Jasper Johns
377:
367:
363:Street Dance
362:
360:
351:
348:
341:
331:
327:
318:
312:
302:
296:
290:
280:
272:
262:
256:
250:
238:Janet McTeer
231:
227:
224:Best Actress
213:
211:
207:
190:James Waring
177:
155:
128:
109:
95:minimalistic
79:
78:
1437:1940 births
1187:(1975), 34.
852:One and One
834:Rhythm Plus
692:Cross Words
620:Agriculture
560:Three Piece
516:Maya Beiser
390:Mark Rothko
287:Kent Nagano
246:Glenn Close
1431:Categories
1367:2019-12-13
1342:2019-12-13
1309:2019-12-13
1270:2019-12-13
1244:2019-12-13
1208:2019-12-13
1140:2019-12-13
1116:2019-12-13
989:References
907:Don Carlos
896:(Director)
508:David Lang
486:Sol LeWitt
470:Sol LeWitt
277:La Monnaie
220:Obie Award
147:Hanya Holm
84:postmodern
35:1940-06-26
870:Trilogies
858:Impromptu
780:Outlineââ
728:Dance 1-5
584:Carnation
417:Manhattan
338:Arvo PĂ€rt
307:with the
282:Lohengrin
253:Luc Bondy
118:from the
54:Education
1043:(2001),
971:Akhnaten
959:Petricor
882:Solstice
846:Concerto
734:Mad Rush
602:Geranium
572:Egg Deal
454:(1979).
267:for the
1410:at the
1381:Vehicle
965:THE DAY
798:Clarion
774:Cascade
626:Vehicle
554:Pastime
536:THE DAY
524:THE DAY
520:THE DAY
501:THE DAY
336:'s and
319:THE DAY
314:Farnace
264:Macbeth
178:Pastime
158:musical
1170:, 102.
1168:Oxford
980:
969:2020-
963:2019-
957:2018-
941:2016-
935:2015-
929:2013-
925:Océana
923:2011-
917:2007-
911:2000-
905:1996-
899:1996-
892:1995-
886:1995-
880:1995-
874:1995-
868:1994-
862:1994-
856:1993-
850:1993-
844:1993-
840:Salome
838:1992-
832:1991-
826:1990-
820:1990-
816:Mayday
814:1989-
808:1987-
802:1986-
796:1986-
790:1986-
784:1984-
778:1984-
772:1984-
762:1983-
756:1983-
750:1982-
744:1982-
738:1981-
732:1981-
726:1979-
720:1977-
714:1977-
708:1977-
702:1976-
696:1976-
690:1976-
684:1976-
678:1976-
674:Katema
672:1976-
666:1975-
660:1975-
654:1973-
648:1973-
642:1973-
636:1973-
630:1968-
624:1966-
618:1965-
612:1965-
608:Screen
606:1965-
600:1965-
594:1964-
588:1964-
582:1964-
576:1964-
570:1963-
564:1963-
558:1963-
552:1963-
494:(1979)
396:, and
258:Salome
196:, and
87:dancer
68:Dancer
48:, U.S.
931:Kilar
894:Zaide
810:Calyx
716:Plaza
596:Model
542:Works
492:Dance
474:Dance
459:Dance
452:Dance
357:Style
273:Zaide
156:As a
1403:IMDb
1047:, 67
1045:IIPA
468:and
438:and
275:for
222:for
168:and
89:and
29:Born
1401:at
947:by
411:In
372:of
340:'s
1433::
1350:^
1317:^
1278:^
1253:^
1237:.
1226:^
1200:.
1132:.
1097:^
1065:^
997:^
973:,
951:,
472:,
392:,
388:,
384:,
346:.
248:.
192:,
102:.
70:,
37:)
1383:,
1247:.
1211:.
1143:.
33:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.