WorldCat Identities

Lamhut, Phyllis

Overview
Works: 63 works in 82 publications in 1 language and 229 library holdings
Genres: Drama  Comedy films  Thrillers (Television programs)  Slapstick comedy films  Television series  Biography  Study guides  Nonfiction films  Documentary films  Art music 
Roles: Author, Choreographer, Interviewee, Speaker, Dancer, Teacher
Classifications: PN1997.2, 791.4372
Publication Timeline
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Most widely held works by Phyllis Lamhut
Sally Gross : the pleasure of stillness( Visual )

2 editions published in 2007 in English and held by 19 WorldCat member libraries worldwide

A look at the life and career of Sally Gross, an American choreographer & dancer
Klein Kunst( Visual )

4 editions published between 1985 and 1989 in English and held by 16 WorldCat member libraries worldwide

Dance performance
3 for Phyllis for some things : mostly natural noise sounds by Philip Corner( )

1 edition published in 2009 in Undetermined and held by 10 WorldCat member libraries worldwide

Utopia by GoodTimes Home Video (Firm)( Visual )

3 editions published between 1988 and 1989 in English and No Linguistic content and held by 8 WorldCat member libraries worldwide

Dance performance
The man by Carl Rakosi( Visual )

2 editions published in 1989 in English and held by 7 WorldCat member libraries worldwide

Lambut's dance dramatically portrays the odd rhythms that overtake the lives of AIDS patients: the uneven pauses generating their thought processes, their heroic sense of self as their bodies heave and deteriorate, knowing that dying is a possibility and hoping for a cure
On your own?( Visual )

2 editions published in 1981 in English and held by 4 WorldCat member libraries worldwide

Former members of major dance companies relate the experience of founding their own companies
Interview with Phyllis Lamhut by Phyllis Lamhut( Recording )

3 editions published in 1993 in English and held by 3 WorldCat member libraries worldwide

Phyllis Lamhut discusses her background and training; working with Alwin Nikolais at Henry Street; forming her company; her choreography; teaching
Limón Dance Foundation : close camera( Visual )

3 editions published in 1994 in English and held by 3 WorldCat member libraries worldwide

Improvisation( Visual )

1 edition published in 1989 in English and held by 2 WorldCat member libraries worldwide

Choreographers Alwin Nikolais and Murray Louis, appearing in separate interviews, talk about their use of improvisation as a choreographic and teaching tool, in performances, and in auditions for dancers. Excerpts from Nikolais's Tent, Illusive visions, and Tensile involvement; and Louis's Harmonica suite, Porcelain dialogues, and Junk dances are shown. Dancers Phyllis Lamhut, Jerry Pearson, and Gerald Otte look back upon their work with Nikolais and Louis
Phyllis Lamhut Dance Company( Visual )

2 editions published between 1979 and 1990 in English and held by 2 WorldCat member libraries worldwide

Nikolais( )

in English and held by 1 WorldCat member library worldwide

Articles about choreographer, composer and teacher Alwin Nikolais (1910-1993) intended for the undergraduate student of dance history are by Phyllis Lamhut, Claudia Gitelman, Ruth E. Grauert, Gerald Otte, James Seawright and Gladys Bailin
Alwin Nikolais : a few thoughts by Phyllis Lamhut( )

1 edition published in 1993 in English and held by 1 WorldCat member library worldwide

Deadly sins( Visual )

1 edition published in 1995 in English and held by 1 WorldCat member library worldwide

Dance work commissioned by Dance Theater Workshop's First Light program
[Catalogs, announcements, etc.] by Phyllis Lamhut( Book )

in English and held by 1 WorldCat member library worldwide

Annabelle Gamson, Phyllis Lamhut, Don Redlich in concert( Visual )

1 edition published in 1983 in English and held by 1 WorldCat member library worldwide

New School ChoreoConcerts and critiques series( Recording )

1 edition published in 1972 in English and held by 1 WorldCat member library worldwide

Side A, ca. 32 min. [Begins abruptly.] Question and answer period with the audience and the choreographers Cliff Keuter, Elina Mooney, Raymond Johnson, and Phyllis Lamhut at The New School for Social Research in New York City on Oct. 17, 1972 following performances of their respective works including Keuter's A cold Sunday afternoon a little later, Mooney's Two separate dances, Johnson's Duet, and Lamhut's Dance hole. Topics include the choreographers' reasons for using the titles they did; their choice of music; judging one's own work; lack of movement in the evening's dances; performing on a proscenium stage as compared to other types of spaces. Side B is blank
Ze'eva Cohen Solo Dance Repertory( Visual )

1 edition published in 1979 in English and held by 1 WorldCat member library worldwide

Ze'eva Cohen( Visual )

1 edition published in 1978 in English and held by 1 WorldCat member library worldwide

Improvisation : the spice of life( Visual )

1 edition published in 2008 in English and held by 1 WorldCat member library worldwide

Using improvisation to develop creative dance material to interact with audiences and to enhance performance techniques
Phyllis Lamhut interview : Oral History Interview( Visual )

1 edition published in 1996 in English and held by 1 WorldCat member library worldwide

[Video 1] Phyllis Lamhut discusses her childhood in Brooklyn, N.Y., early aspirations and experiences in dance, she tells an anecdote about her first meeting with Alwin Nikolais, she discusses the transference of the Henry Street Playhouse's dance directorship from Hanya Holm to Nikolais, her developing a commitment to become a professional dancer and her class schedule, she recalls details of Nikolais' classes, teachings, choreography and his continuation of Holm's dance lineage, she discusses Nikolais' approaches as a choreographer, his choice to not dance in his own works, how the school and Nikolais encouraged and facilitated training in composition and improvisation, she discusses her experiences (as a 16 year old dancer) in the Nikolais dance, Extrados (1949). [28:27 screen black to 29:10, begin Video 2], Lamhut briefly discusses her own early dance compositions, their development through classes at the Henry St. School, and their subject matter, her personal life at that time, she speaks about Nikolais' contributions to the performances given by the school's young choreographers, performing in the Nikolais Dance, Masks, props and mobiles (1953), and the use of improvisation, responding to a question about the thrust of Nikolais' work, she discusses his many talents including as a lighting designer, his philosophical vision of a "total theater" and his creation of immediacy through theatrical experiences, she disputed the Doris Hering review (1953) of the company that describes Nikolais' work as dehumanizing, she mentions the opinions of other reviewers including Louis Horst and John Martin, she discusses the early development of the company's reputation, she briefly recalls Nikolais' dances, including Kaleidoscipe (1953) and Tent (1969), how Nikolais utilized his multi-faceted creative talents and developed costume/props for dances such as these, she describes her own movement tendencies and style in comparison to other company dancers at that time, she further discusses Nikolais' choreographic philosophies and her translation of them as a dancer; she speaks about the transition into starting her own company in 1969, and her dance, Extended voices (1970). [57:26 black screen, 57:29 resumes, Begin Video 3], Lamhut continues to discuss her own company's early formation and briefly describes several dances from this time, Field of view (1971) and House (1971), she describes her own choreographic process in determining the movement theme of a work, and the structural choices that follow, she discusses the impact of Nikolais' ideas and teachings on her choreography, she gives a brief overview of her early company career including funding sources and frequency of new works, she describes a shift in approach through her dance, Mirage blanc (1979), and briefly describes the way the dance community, in her opinion misinterpreted her dance, Passing (1980), she briefly describes several dances and her collaborators from the early 1980's including the dances Collapsing spaces and tilting times (1984), For spirits and kings (1983), performed at the Joyce Theatre, N.Y., she names dancers whom have danced in her works, she speaks about her changing economic strategies and the impact of a recent fellowship award, she discusses how aging and maturity currently influence her choreography, and how to stay current as an artist. [1:24;11 black screen, 1:24:18 resumes, Begin Video 4] Lamhut discusses the social subject matter in some of her choreography from 1985-1996, including themes relating to the Weimar period in Germany, the re-election of Ronald Regan, the Cold War, and AIDS, she specifies these themes in her dances Utopia, Collapsing spaces, tilting times, and Man (1989), she tells a brief anecdote about the maturity of Eleo Pomare as a dancer in the dance, Man, she briefly discusses her 20th anniversary as a choreographer and setting her work, Cavatina (1990) on the Jose Limon Dance Company as the beginning of her association with them, she briefly describes the themes in her dance, Cleave (1991) that responds to the fall of the Berlin Wall, she briefly discusses her dance Fantomes (1994) set on the Juilliard dancers, she again discusses her earlier work and themes, including the dance Disclinations (1983) and working with Rob O'Neill, she again discusses the various influences of Nikolais, she recalls the Henry St. Playhouse space prior to renovations, she tells an anecdote about the Nikolais costume designer Helena Lapchuck, [as Lamhut gets emotional, she asks to pause the tape at 1:43:32, resumes 1:43:47], Lamhut continues to discuss her good fortune to have worked with Nikolais and the company, she describes the lower east side, New York, as she remembers it from her early years, changes in the area since, and some of the people she remembers and that influenced her over the years
 
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Audience Level
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Audience Level
1
  Kids General Special  
Audience level: 0.50 (from 0.11 for Miscellane ... to 0.83 for Limón Dan ...)

Languages
English (48)