Moseley, Monica

City Center Joffrey Ballet by Herbert Mogdoll ( Book )
1 edition published in 1967 in English and held by 8 libraries worldwide

Education of the girlchild by Monica Moseley ( Visual )
5 editions published between 1972 and 1981 and held by 1 library worldwide

Juice by Monica Moseley ( Visual )
4 editions published between 1969 and 1981 and held by 1 library worldwide

Paris/Chacon/Venice/Milan by Monica Moseley ( Visual )
3 editions published between 1970 and 1974 and held by 1 library worldwide

Interview with Herbert Migdoll by Herbert Migdoll ( Recording )
2 editions published in 1996 in English and held by 1 library worldwide
Cassette 1. Recorded April 19, 1996, Mr. Migdoll recounts meeting Gerald Arpino; describes the 1965 Robert Joffrey Ballet season at the Rebekah Harkness Foundation Dance Festival at the Delacorte Theater in New York City's Central Park; discusses Edwin Denby; his own attraction to the Joffrey company and its repertory; Arpino's ballet Viva Vivaldi!; the dancing of Robert Blankshine and Luis Fuente; covertly photographing Joffrey Ballet performances at City Center; combining graphic design with photography; the Robert Joffrey Ballet tour to the Harper Theater in Chicago; Lotte Goslar's choreography Charivari; aesthetics in dance photography; craftsmanship in dance photography; time-lapse dance photography; his training in the visual arts at Cooper Union; working at New York's Museum of Modern Art; Alexander Ewing; Isadora Bennett; Massine's ballet Parade; Jooss' choreography The green table; critics' reactions to Arpino's choreography; Meredith Monk; Twyla Tharp; Joffrey's ballet Astarte; dancer Trinette Singleton; Mr. Fuente performing the role of the profiteer in Parade; and compares Fuente's dancing with that of Mikhail Baryshnikov.

Dance for Meredith ( Visual )
2 editions published in 1984 in English and held by 1 library worldwide

Interview with Frederic Franklin. June 21, 2000 by Frederic Franklin ( Recording )
1 edition published in 2000 in English and held by 1 library worldwide
Cassette 25, side A (ca. 38 min.). The interview includes Frederic Franklin's comments on photographs of and designs for ballets, shown to him at the interview. Franklin speaks about Ruth Page's ballet Bells, including the cast (which included Franklin, Ruthanna Boris, and Nikita Talin) and the set by Isamu Noguchi; the choreography; opening night and the audience's booing of Page; Page's theatrical background; relates anecdotes about Page and her husband, Tom [Thomas Hart] Fisher, including Page's joining Serge Diaghilev's Ballets russes de Monte Carlo on her honeymoon; Page's working methods; Page as a dancer and an artist; relates additonal anecdotes about Page; comments on photographs of and designs for Bells, especially with respect to the costumes; comments on selections from the correspondence files relating to the Ballet Russe de Monte Carlo shown to him, including the circumstances of his and Alicia Markova's leaving the Markova-Dolin Ballet Company to join the Ballet Russe de Monte Carlo. [Ends abruptly.]

Interview with Frederic Franklin. May 17, 2000 by Frederic Franklin ( Recording )
1 edition published in 2000 in English and held by 1 library worldwide
Cassette 14, side A (ca. 38 min.). The recording includes Frederic Franklin's comments on photographs and drawings of ballets shown to him at the interview. Franklin speaks about Alexandra Fedorova's ballet The nutcracker [after Lev Ivanov, first performed in the U.S. at the Fifty-first St. Theatre in New York City], including the choreography; performance anecdotes; the Ballet Russe de Monte Carlo's box office-oriented program of The nutcracker, Swan lake, and Schéhérazade; Franklin's staging of The nutcraker in Washington, D.C., with Alexandra Danilova's assistance; staging the ballet in 1974 in Cincinnati; the difficulties of dealing with three casts of children; the relationship of the Candy cane dance in George Balanchine's The nutcracker to the Hoop dance in Balanchine's ballet Night shadow; the English custom of using a ballet's French title; the actress Elsa Lanchester's performance in [Nikolai] Sergeeev's production of The nutcracker for Sadler's Wells Ballet; Franklin's trip to the U.S.S.R. in the 1960s; Danilova's dislike of Galina Ulanova; the financial potential of The nutcracker; the genius of Balanchine's production of The nutcracker.

Writing on the dance left an interview with Edna Ocko by Edna Ocko ( Recording )
1 edition published in 1993 in English and held by 1 library worldwide
Monica Moseley introduces Lynn Garafola; Garafola speaks briefly about Edna Ocko's family, academic, and career background; Ocko speaks about her family; her feelings on seeing Isadora Duncan dance; working as an accompanist at dance concerts in exchange for dance lessons; why she became a dance critic; the political atmosphere of the dance world during the Depression, including at Hanya Holm's studio; the workers dance group [Workers Dance League?], including the classes it gave; the New Dance League, in particular the large audience for its performances; reminisces about performing for the Workers Dance League, including an anecdote about performing for the shoe makers' union; more on her work as a dance critic, including her use of pseudonyms; Garafola speaks about Ocko's use of pseudonyms; Ocko speaks about her dance writing; Garafola speaks about the journal New Theatre, with some comments from Ocko; Ocko speaks about her work as editor of New Theatre, including the coverage of agit-prop dances and ballet; writing for Cue magazine; Garafola speaks briefly about New Theatre's fund-raising performances; Ocko speaks about organizing fund-raising dance performances; Men in the Dance, an all-male dance concert held in May 1935; more on fund-raising, for the United Front [against fascism]; reasons New Theatre closed; the journal TAC [Theater Arts Committee], including its sponsorship of theatrical performances; Ocko's being "named" by Jerry [Jerome Robbins] during the McCarthy era; reasons she became a psychologist [gap]; more on her becoming a psychologist. The last ca. 15 min. (from ca. 49 min. to 63 min.) of the recording consists of questions from the audience and Ocko's responses, moderated by Garafola; the sound quality of the audience questions is poor and at times inaudible. Topics discussed include the reasons [the New Dance League] was able to attract large audiences; her publicity work for relief organizations during World War II; her love of jazz music; culture and the working class; the unified anti-war stance of the dance groups.

Interview with Frederic Franklin. May 3 and May 9, 2000 by Frederic Franklin ( Recording )
1 edition published in 2000 in English and held by 1 library worldwide
Cassette 7, side A, 05/03/00 (ca. 51 min.). This recording includes Frederic Franklin's comments as he looks at photographs of dancers, drawings of costumes and set designs, and a score, shown to him at the interview. Franklin speaks about Leonide Massine's ballet Gaîté parisienne including the characters, costumes, rehearsals, and Massine's working methods; Franklin's various roles in the ballet, the dancer Lubov Roudenko; the creation of the Barcarole section; the librettist and designer Etienne de Beaumont; the conventions of the tour de role and tour de premiere; Nina Tarakanova (Natalʹi︠a︡ Ivanovna Tarakanova) and Alexandra Danilova and the role of the Glove seller; Franklin comments on photographs of the ballet; Lorca Massine's 1988 revival of the ballet for American Ballet Theatre; the score; George Balanchine's ballet Night shadow, including the circumstances of its creation; his choice of Danilova for the role of the Sleepwalker and Maria Tallchief for the role of the Coquette; rehearsals; Franklin's performance as the Poet, especially the choreography for him and Danilova. [Ends abruptly.]