Choreography Books

Book SynopsisChoreography is the highly creative process of interpreting and coordinating movement, music and space in performance. By tracing different facets of development and exploring the essential artistic and practical skills of the choreographer, this book offers unique insights for apprentice dance makers. With key concepts and ideas expressed through an accessible writing style, the creative tasks and frameworks offered will develop new curiosity, understanding, skill and confidence. The chapters cover the key areas of engagement including what is a choreographer?; getting started; improvisation and ideas; context, stage geometry and atmosphere; movement as dance in time and space; solo, duet, trio and group choreography and finally, structure and the 'choreographic eye'. This is an ideal companion for dancers and dance students wanting to express their ideas through choreography and develop their skills to effectively articulate them in performance.Trade ReviewThis book which reflects the wealth of experience, observations and learnings generously shared by Kate Flatt is a book I highly recommend to anyone wanting to create and seeking an expert lens into the craft. -- Vidya Patel, Choreographer, Sadler's Wells Young Associate 2020/22 * Choreographer, Sadler's Wells Young Associate 2020/22 *

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Book SynopsisNOW A MAJOR FILM BY RALPH FIENNES, THE WHITE CROW''A gripping account of an extraordinary life'' Daily Telegraph Born on a train in Stalin''s Russia, Rudolf Nureyev was ballet''s first pop icon. No other dancer of our time has generated the same excitement - both on and off stage.Nureyev''s achievements and conquests became legendary: he rose out of Tatar peasant poverty to become the Kirov''s thrilling maverick star; slept with his beloved mentor''s wife; defected to the West in 1961; sparked Rudimania across the globe; established the most rhapsodic partnership in dance history with the middle-aged Margot Fonteyn; reinvented male technique; gatecrashed modern dance; moulded new stars; and staged Russia''s unknown ballet masterpieces in the West. He and his life were simply astonishing.''Magnificent, a triumph. Captures every facet of this extraordinary man'' Mail on Sunday''The definitive study of a manTrade ReviewMagnificent, compulsively readable * Guardian *A gripping account of an extraordinary life * Daily Telegraph *Magnificent, a triumph. Captures every facet of this extraordinary man * Mail on Sunday *Undoubtedly the definitive biography. Rudolf Nureyev, superstar, emerges in all his terribly flawed glory * Sunday Telegraph *The definitive study of a man who, in his combination of aesthetic grace and psychological grime, can truly be called a sacred monster * Observer *Julie Kavanagh writes with flair and abundance * The Sunday Times *

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Book SynopsisIn this sparkling, innovative, fully-illustrated work, world-renowned choreographer Annie-B Parson translates the components of dance-time, proximity, space, motion and tone- into text. As we follow Parson through her days-at home, reading, and on her walks down the street-and in and out of conversations on everything from Homer's Odyssey to feminist art to social protest, she helps us see how everyday movement creates the wider world. Dance, it turns out, is everything and everywhere.With the insight and verve of a soloist, Parson shows us how art-making is a part of our everyday lives and our political life as we move, together and apart, through space.Trade ReviewA gorgeous meditation on dance, visual art, and literature, as well as living, loving, and mourning. Parsons brings to the page the starling quality of her introspective, astounding, and lyrical stage work, urging us to look more closely at those small and large moments that steer us through the dance of life. -- Edwidge Danticat, author of Create Dangerously"Bodies in space". I have heard Annie-B use this phrase dozens of times. It occurs to me this phrase refers to choreography and dance, but is also a transposable life philosophy...Of all the ways to move a body in space, through space, Annie-B creates the stage to have the most beautiful and beguiling ones be seen. -- St. VincentI'm a long time fan of Annie-B's work. I see in it the quotidian made extraordinary...the familiar made foreign. -- David ByrneParson's path is one that continues to push the boundaries of dance -- Dan Meyer * Playbill *The choreographer who democratized dance. * Financial Times *In this quiet, minute and understatedly virtuosic text, Annie-B Parson walks us through the intricate dances of pedestrianism and domesticity. Gently but firmly pressing back against linear heroic narratives that have tended to efface the practices of women artists, she braids together strands of beauty, resistance and reverie, slyly pulling her readers into an exquisite, inclusive choreography of living. -- Barbara Browning, author of The GiftTraipsing from The Odyssey to Trisha Brown, Hilma af Klint to Anne Carson, Parson braids together ideas through words and illustrations as she touches on the connections between protest, ritual and spectacle, how the pandemic asked pedestrians to rechoreograph their relationship to other bodies in space, Zoom and Tik Tok as creative forms, and more. -- Courtnney Escoyne * Dance Magazine *Parson reframes banal encounters into beautiful, crystalline observations. -- Ava Wong Davies * Elephant *The Choreography of Everyday Life is many things: a pandemic diary, a discourse of Greek tragedy, and a tribute to Parson's many inspirations, from Trisha Brown to Hilma af Klint. Mostly though, it's a leisurely walk through a brilliant mind. This book weaves together personal and theoretical reflections with evocative images from famous works of art and Parson's own casual snapshots. The result will be oddly familiar to any follower of her company Big Dance Theater. It's a delightful clash of high art and low culture, sparklingly intelligent yet warmly conversational. -- Andy Boyd * The New Books Network *A thoughtful addition to a dance library collection. * Library Journal *Annie-B has choreographed for Davids (Bowie and Byrne), St. Vincent, Spike Lee, and Lorde, among others - giving movement to artists for whom movement is as essential to their work and melodies. Now, she's exploring how dance functions in everyday life, both in her own and on a societal level. In this illustrated work, Parson distills movement into text, exploring movement in feminist art to protests * Nylon *This small but perfectly formed book gathers in the sacred and the profane, the virtual and visceral, poetical and political * Morning Star *Award-winning choreographer Annie-B Parson uses this slim but potent volume to show readers how the movements of day-to-day life function as choreography in the same way dancers on a stage execute choreography as a group. Reading this book made me look at the mundane activities of my everyday life with fresh eyes. If dance is everything and everywhere, as Parson asserts, then all our small movements add to something much bigger than any one individual. It's an interesting idea for our current moment, where connection seems more necessary than ever but increasingly rare. -- David Vogel * Buzzfeed *Parson's insights are a welcome reminder of the political value of dance, which has long served as a powerful aid to protest, its expressive beauty lending eloquence to public demonstrations of outrage or sorrow. -- Charlie Tyson * The Atlantic *Parson's prose made me nostalgic...voraciously pinballing between art forms, always in search of the perfect verb. * The Washington Post *To Annie-B Parson, choreography isn't confined to the studio and the stage; rather, practically everything around us abounds with movement that's worth paying attention to. In her new, aptly titled book, The Choreography of Everyday Life, an inventive, observant, and witty ode to her relationship with dance and movement over the course of her lifetime, she delves into exactly that belief. -- Andrew Zuckerman * Time Sensitive *This small and precious book can tell us the oldest and most profound story of how the body experiences space, inhabits it and is inhabited by it...the title to read this season. -- Sara Marzullo * Harper's Bazaar *'If the universe is meaningless, so is the statement that it is so,' Alan Watts wrote as he contemplated our search for meaning. 'The meaning and purpose of dancing is the dance.' The metaphor comes alive with uncommon vitality in The Choreography of Everyday Life by choreographer Annie-B Parson, who has shaped living artworks by cultural icons ranging from David Bowie and David Byrne to Mikhail Baryshnikov and the Martha Graham Dance Company. -- Maria Popova * The Marginalian *A small glimpse into the creative mind of an acclaimed contemporary artist of our time. * Dance Teacher *The book itself is a careful choreography. The spacing, brackets, punctuation, and images denote pauses, pairings, emphases, and visual cues. Verbs grow muscles, and metaphors become great choreographic tools. And though Parson appears to be an avid fan of Trisha Brown's rejection of fanfare, there remains a healthy dose of drama throughout. -- Wendy Perron * Notable Dance Books of 2022 *The Choreography of the Everyday is an extraordinary project. There's a scrap-book quality, visually and thematically. The pages are sprinkled with her photographs, her drawings, her post-its, or diagrams, or images of an ancient stele with dancing figures on it. -- Maggie LangeThere is an aliveness to the book, threads pulling together and apart, weaving back to front, front to back, moving from thousands of years ago to the present. It connects me to the book, the author, and into a larger world - where we see choreography all around us. * thINKingDANCE *Table of ContentsNo chapters -- one continual text

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Book SynopsisThis choreographed book is dedicated to the phenomenon of the bare body in contemporary performance. This work of artistic research draws on philosophical, biopolitical, and ethical discourses relevant to the appearance of bare bodies in choreography, setting a framework for a reflexive movement between affect and ethics, sensuous address and response. Acts of exposure and concealment are culturally situated and anchored, and are examined for their methodological and nanopolitical significance. The concepts of anarchic responsibility and choreo-ethics lead to a reevaluation of contact, relationship, and solidarity. Choreography is thus understood as a complex field of revelatory experiences based on ecologies of aesthetic perception and ethico-political agency.

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Book Synopsisjackï job has been working as a dancer and choreographer since 1994 and has created more than 70 productions with artists in Africa, Asia and Europe. They are tenured as an academic researcher at the University of Cape Town, South Africa.

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Book SynopsisA transdisciplinary approach to practice-as-research, complete with its own elaborate theory of practice and a set of four multi-year-performance research projects through which the theory plays out. Its methodology is at times ethnographic as Henry Daniel deftly inserts himself and his Caribbean West African ancestry into a series of complex cortical and geographic maps, which become choreographic in every sense of the term. The central argument in the book is based on a claim that human beings are cognitively embodied through their own lived experiences of movement through space and time; the spaces we inhabit and the practices we engage in are documented through cortical and cartographic maps. In short, as we inhabit and move through spaces our brains organise our experiences into unique cortical and spatial maps, which eventually determine how we see and deal with, i.e., ‘become’ subjects in a world that we also help create. The argument is that through performance, as a re-cognising and re-membering of these movements, we can claim the knowledge that is in the body as well as in the spaces through which it travels. To demonstrate how the brain organises our experiences of the world according to cartographic (graphically mapping procedures) and cortical (motor, sensory and visual functions) mapping and exploring the impact of this mapping to choreographic practice, considering how maps might be disrupted or altered by change of circumstances. This is illustrated through scientific, creative and reflective approaches to exploring neurological process of embodied experiences, as well as the analysis of projects that have utilized this practice thus far. Audience will include Dance and Performance Studies Scholars; Dancers and Choreographers; Undergraduate and Advanced Students; ResearchersTrade Review'Daniel explores performance practice research as a transdisciplinary context for describing the embodied experience of liminality as expressed in the volume's subtitle. Through a complex scaffolding of philosophy, cultural studies, cartography, and neuroscience, he considers subject formation as enacted through performance, positioned here as a survival response. Reviewing a body of creative works produced across 20 years, the author argues for "worlding" as an extended performance event. Part autoethnography, part review of emergent discourses of embodied knowledge, the text bristles with anecdotal analyses of successive performance projects. [...] Well-chosen images and a companion web-based archive of performances enhance this retrospective self-appraisal of multiyear performance projects. Overall, Daniel illustrates in a personal way how the self emerges dynamically by "performing its way through" various environmental, political, and socioeconomic frameworks that colonizing processes impose. Recommended' -- T. F. DeFrantz, CHOICETable of ContentsList of Figures Acknowledgements Prologue ACT 1 1. Autoethnography as a Methodological and Ideological Starting Point - A beginning of sorts - Will the artist please stand up? - Introducing the map - Microcosm vs. macrocosm - Mediating difference - Choreographic organization 2. The Hypothesis Explained - Theory, perception, process and practice - Implications - Embodiment and disembodiment - Science, art, culture and the transdisciplinary mandate - Self-knowing - Movement, language and non-discursive thinking - Mirroring - Preliminary conclusions 3. Further Presuppositions and Explorations in Search of a Theory of Practice - Revisiting the hypothesis - Shango Meets Ogun - Performing disembodiment - Futurist Equation - The futurist/humanist condition - Re-cognizing/re-membering - The lived machine - Performing consciousness - Scales and dimensions, movement and sound - Further conclusions ACT 2 4. Transnet - Performing art, performing science, transdisciplinary approaches to performance - Significant contributions - Choreography as transdisciplinary Practice-as-Research 5. New Performance Maps - The Touched Project: Organization, control and emergence in choreographed performance systems - Touched - t2 - t2_echo - Imprint - Imprint II - Embodied choreographic knowing 6. Going West to Find East - Choreographing from the underside - Haikai, Encounters and Here Be Dragons (Stage I Creative Preview) - Barca: el otro lado - A barca: Reaching back to go forward - ambos lados - Isabella’s Dream ACT 3 7. Contemporary Nomads - Nomadism - nómadas - nómadas 2018_excerpts - On Home - Multiple presences: Movement through space/time holes - The real and the virtual, reality and the dream - Performing the self: Movement as an unfolding and initiating of thought An Epilogue: Fitting [Out-fitting] In - Who is he fooling and what is he really doing there? - Who am I and why am I here? - Fitting [Out-fitting] In - So, what’s your background? - Where are you from? I mean, where are you really from? - Oh! You’re a Professor? What do you teach? - What’s ahead? - Finale Appendix A: Artisitic Works by the Author - Multi-year research projects referenced - Short-term stand-alone works mentioned Appendix B - Map A - Map B - Map C Bibliography Index

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Book SynopsisChoreographies of 21st Century Wars is the first book to analyze the interface between choreography and contemporary warfare, a pertinent inquiry since choreography has long been linked to war and military training. Authors from a range of disciplines reconceptualize choreography in the face of this century's never ending wars.Trade ReviewChoreogrphies of 21st Century Wars helps readers to contemplate the potential of choreography as construct and practice to grapple with the complexities and ineffable experience of a world dominated by war. Offering critical insights about the disconnection between our understanding and the realities of war, Choreographies encourages dancer-artists and scholars to explore the potential of choreography to illuminate how we shall live and dance in this world. Living in a state where the Korean War has not yet ended, I appreciate the rigorous analyses of this anthology that helps me to realize and critically comprehend the very real choreographies of war. * Dance Chronicle *Table of ContentsPreface ; Introduction: Contemporary Choreographies of Wars, Gay Morris and Jens Richard Giersdorf ; Chapter 1: Access Denied and Sumud: Making a Dance of Asymmetric Warfare, Nicholas Rowe ; Chapter 2: Questioning the Truth: Rachid Ouramdane's Investigation of Torture in Des Temoins Ordinaires/Ordinary Witnesses, Alessandra Nicifero ; Chapter 3: "There's a Soldier in All of Us": Choreographing Virtual Recruitment, Derek A. Burrill ; Chapter 4: African Refugees Asunder in South Africa: Performing the Fallout of Violence in Every Day, Every Year, I am Walking, Sarah Davies Cordova ; Chapter 5: From Temple to Battlefield: Bharata Natyam in the Sri Lankan Civil War, Janet O'Shea ; Chapter 6: Choreographing Masculinity in Contemporary Israeli Culture, Yehuda Sharim ; Chapter 7: Affective Temporalities: Dance, Media, and the War on Terror, Harmony Bench ; Chapter 8: Specter of War, Spectacle of Peace: The Lowering of Flag Ceremony at Wagah and Hussainiwala Borders, Neelima Jeychandran ; Chapter 9: A Choreographer's Statement, Bill T. Jones ; Chapter 10: Dancing in the Spring: Dance, Hegemony and Change, Rosemary Martin ; Chapter 11: War and P.E.A.C.E, Maaike Bleeker & Janez Jansa ; Chapter 12: The Body is the Frontline, Rosie Kay and Dee Reynolds ; Chapter 13: Geo-Choreography and Necropolitics: Faustin Linyekula's Studios Kabako, Democratic Republic of Congo, Ariel Osterweis ; Chapter 14: Re: moving bodies in the Mexico-USA drug, border, cold, and terror wars ; Ruth Hellier-Tinoco ; Chapter 15: After Cranach: War, Representation and the Body in William Forsythe's Three Atmospheric Studies, Gerald Siegmund ; Chapter 16: The Role of Choreography in Civil Society under Siege: William Forsythe's Three Atmospheric Studies, Mark Franko ; Contributors ; Index

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book Synopsis''When directors understand the value of a movement director they remove any sense of hierarchy within the room and place movement directors firmly by their side for they are and should be their co-pilot, navigating and creating the world of the play.' Joan IyiolaMovement directors work with the physical, living bodies at the heart of theatre productions, creating movement languages with actors and directors. Through a series of in-depth interviews with leading theatre practitioners, Ayse Tashkiran charts the growth of the movement director in contemporary theatre. The voices of Jane Gibson, Sue Lefton, Kate Flatt, Toby Sedgwick, Siân Williams, Struan Leslie, Ellen Kane, Peter Darling, Steven Hoggett, Ann Yee, Imogen Knight and Shelley Maxwell explore processes of creativity, collaboration and innovation for the moving body in performance.The conversations open up:Growth of movement direction through the 20th centuryNew insights into embodied theatre practiceDiverse movemTrade ReviewTashkiran has collected interviews with fellow movement directors for years. She is a great interviewer and a careful listener, instinctively taking a back seat and giving space and time to her interviewee, only intercepting to dig a little deeper or tease out more clarification … [the book] brims with different personalities, unfinished thoughts and stream-of-consciousness monologues – the struggles of people who habitually work with bodies to find the right word. The book allows us to sneak a peek directly into the rehearsal room and the very practical physical craft that happens there. * Springback Magazine *Opens up discussions on key aspects of the creative process, how to make a name for yourself and what it is truly like to work with bodies of all backgrounds … Tashkiran’s own passion and experiences set out the foundations for this highly informative and insightful book, which is highly recommended for all those who have a desire to choreograph, movement direct or simply have a curiosity for how a production gets moving. * One Magazine *Table of ContentsForewords Maria Aberg and Joan Iyiola Preface Acknowledgements 1. Introduction 2. Early practitioners and practices 3. Themes 4. Jane Gibson 5. Sue Lefton 6. Kate Flatt 7. Toby Sedgwick 8. Siân Williams 9. Struan Leslie 10. Ellen Kane 11. Peter Darling 12. Steven Hoggett 13. Ann Yee 14. Imogen Knight 15. Shelley Maxwell 16. Future voices with Diane Alison-Mitchell, Polly Bennett, Lucy Cullingford, Ioli Filippakopoulou, Natasha Harrison, Chi-San Howard, Vicki Igbokwe, Jennifer Jackson, Ingrid Mackinnon, Rebecca Meltzer, Coral Messam, Anna Morrissey, Sue Mythen, Sacha Plaige 17. Beyond the room: Contexts and structures

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Book SynopsisMaria Fay's third and final book covers the evolution of her approach to teaching character dance to classical ballet dancers. First written some years ago, but never published until now, it includes an entertaining narrative account, together with descriptions and analysis of exercises for seven different character dance styles: Hungarian Court, Polish, Hungarian Gypsy, Russian, Romanian, Georgian, and Hungarian Peasant. Her particular system has formed the foundation of classes taught in recent times at the Royal Ballet School by her former students Amanda Maxwell and Tania Fairbairn. This historical record of an important strand of work by the renowned Hungarian dancer, teacher, choreographer and coach will be of interest to the dance community worldwide.Table of ContentsForeword by Amanda Maxwell; Preface; What is Character Dancing?; The History and Progression of Character Dance; PART I; The Evolution of My System; Stamp your Feet; Where There's a Will; Fight if you Must; Slowly But Surely; Let your Hair Down; Style Awareness; Who Cares What The Critics Say?; Dance Round The World; Which One is Which?; Inventiveness or Authenticity?; Dreams About Unity of Style; Fitting In; Character Dance Via Air Mail; Through the "Dark Ages" to the "Renaissance"; Part II; Description of Barre Exercises and Centre Practice Steps for Character Dance Classes;

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Book SynopsisIn this memoir of a roller coaster career on the New York stage, former actor and dancer Bettijane Sills offers a highly personal look at the art and practice of George Balanchine, one of ballet's greatest choreographers, and the inner workings of his world-renowned company during its golden years.

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Book SynopsisMolissa Fenley, one of the most influential artists of postmodern dance, has had a lasting impact on performance. This is a vivid and probing portrait of Fenley's four-decade career, written by her fellow artists. It offers several scholarly analyses of the choreographer's work, and is, above all, a vibrant record from the field.

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Book SynopsisContemporary dance, visual art, and academic research produced innovative exhibition/performance exploring perspectives of the body.

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Book SynopsisTony and Olivier Award-winning Bob Avian's dazzling life story, Dancing Man, is candid, witty, sometimes shocking, and always entertaining. Here at last is the ultimate up-close and personal insider's view from a front row seat at the creation of the biggest, brightest, and best Broadway musicals of the past fifty years.

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Book SynopsisBody – art – performance – philosophy This anthology is dedicated to the theme of bodies – in transition, on thresholds, and at the edges of life. They are discussed in terms of their artistic, political, and existential dimensions. The focus of this artistic-philosophical consideration of the intersection of performance practices and life practices is on processes of emergence, survival, and decay, tracing the emergence of bio- and necropolitics. The book looks at performative (life) cycles and their temporal dimension, emphasizing the moment of dwelling at a threshold or transition, thus spinning a relational textual web. Mariella Greil brings together contributions from the fields of performance, activism, psychoanalysis, and contemporary dance, connecting content and form in a unique way. Following on from the publication Being in Contact: Encountering a Bare Body (2021) A multilayered book with a transparent dust jacket, recycled and transparent paper, inserts, and open thread stitching With contributions by Fiona Bannon, Ashon Crawley, Gurur Ertem, Rebecca Hilton, Pavlos Kountouriotis, and others

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Book SynopsisIn the global context of the Great Acceleration, things and people have been on the move more than ever before. Moritz Frischkorn takes a fresh look at recent performing arts practices that deal with everyday objects on and beyond the stage. Contrasting these practices with the business field of logistics, he examines the aesthetic and ethical concerns of moving things. Drawing on concepts from performance as well as black studies and philosophy, and based on an artistic-research methodology, the book formulates a notion of more-than-human choreography as an ecologically informed, infinitely indebted practice of living within the material world.

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Book SynopsisContributors to this volume address such topics as the role of the 1960s Asian American movement in creating Japanese American taiko groups, and the experience of internment during World War II influencing butoh dance in Canada. The volume includes first-person narratives, interviews, ethnography, cultural studies, and performance studies.Trade ReviewA methodologically diverse and eclectic approach to Asian American dance studies, where dance is both method and content. These essays illuminate the ways that dance shapes, troubles, and pushes against the contours of what counts as Asian American cultural production.""- Priya Srinivasan, author of Sweating Saris""Confirms the vibrant and diverse presence of contemporary Asian American dance on the stage and in the world. This fresh new scholarship inspires us all to consider the strategies and achievements of generations of artists and researchers working at the intersection of Asian American studies and dance studies. An absolute must for anyone concerned with the future of dance scholarship.""- Thomas F. DeFrantz, editor of Dancing Many Drums""A methodologically diverse and eclectic approach to Asian American dance studies, where dance is both method and content. These essays illuminate the ways that dance shapes, troubles, and pushes against the contours of what counts as Asian American cultural production."" - Priya Srinivasan, author of Sweating Saris""Confirms the vibrant and diverse presence of contemporary Asian American dance on the stage and in the world. This fresh new scholarship inspires us all to consider the strategies and achievements of generations of artists and researchers working at the intersection of Asian American studies and dance studies. An absolute must for anyone concerned with the future of dance scholarship."" - Thomas F. DeFrantz, editor of Dancing Many DrumsTable of Contents Preface and Acknowledgments Introduction Yutian Wong Part I: Dancing Citizenship 1. A New Taiko Folk Dance: San Jose Taiko and Asian American Movements Angela K. Ahlgren 2. We Should Bring Our Muzukashii Roko Kawai 3. Asian Canadian Dance: Cross-Cultural Currents in Vancouver's Kokoro Dance and Co.ERASGA Dance Eury Colin Chang 4. ""Started in the Streets . . ."": Reality TV, Neoliberalism and the Performance of Asian American Entrepreneurship on America's Best Dance Crew, Season 1 Brian Su-Jen Chung Part II: Choreographing Aesthetics 5. Mediated Meditations: Choreographies of Shen Wei and Kun-Yang Lin Ellen V. P. Gerdes 6. An Asian American Land: Eiko & Koma Choreograph Cultural Politics Rosemary Candelario 7. Ambivalent Selves: The Asian Female Body in Contemporary American Dance Maura Nguyen Donohue Afterword Yutian Wong and Denise Uyehara Bibliography Contributors Index

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Book SynopsisWidely regarded as the foremost choreographer of contemporary ballet, George Balanchine was a major inspiration in the world of dance. This book presents a technical explanation of the stylistic approaches that he taught in New York City between 1940 and 1960.Trade ReviewPresents us with far more than any other ballet technique books - a rare look into Balanchine's studio from its earliest days to the time of his company's pinnacle years. A major contribution to the preservation of the Balanchine legacy. - Tamara Tomic-Vajagic, correspondent, Orchestra Dance Magazine ""The most compelling aspect of the book for me was the detail of the classes that George Balanchine taught! It's all there! This book is invaluable for all dancers! "" - Vida Brown Olinick, former ballet mistress, New York City Ballet

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