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Interview with Maxine Glorsky

Autor: Maxine Glorsky; Jennifer Dunning
Editorial: 2001.
Edición/Formato:   Libro audio-e en casete : Grabación en casetes : Inglés (eng)
Base de datos:WorldCat
Resumen:
Cassette 1 (ca. 55 min.). August 31, 2001. [Sound quality poor] Ms. Glorsky describes how she became interested in working backstage; her family; studying ballet with Mildred Hoffman; her experiences at Jacob's Pillow and her memories of Ted Shawn and Ruth St. Denis; working with John Christian; how her training as a dancer helped her as a stage manager; the influences of the many different artists with whom she has
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Detalles

Persona designada: Maxine Glorsky; Ted Shawn; Ruth St Denis; John Christian; María Alba; Martha Graham; Nichola Cernovitch; Jean Rosenthal; Gilbert Helmsley; Mikhail Baryshnikov; Bob Fosse
Tipo de material: Libro de audio electrónico, etc.
Tipo de documento: Grabación sonora
Todos autores / colaboradores: Maxine Glorsky; Jennifer Dunning
Número OCLC: 49895895
Notas: Interview conducted by Jennifer Dunning, Aug. - Sept. 2001 [New York City]
Sound quality of cassettes no. 1 and no. 2 is poor. Each of cassettes no. 1 and no. 2 includes blank tape at the beginning and end of the recording. Sound quality of cassette no. 3 is good.
Descripción: 3 sound cassettes (ca. 192 min.) + transcript (100 leaves)

Resumen:

Cassette 1 (ca. 55 min.). August 31, 2001. [Sound quality poor] Ms. Glorsky describes how she became interested in working backstage; her family; studying ballet with Mildred Hoffman; her experiences at Jacob's Pillow and her memories of Ted Shawn and Ruth St. Denis; working with John Christian; how her training as a dancer helped her as a stage manager; the influences of the many different artists with whom she has worked; the work of a stage manager; her first professional job stage managing at Jacob's Pillow with the Ximénez-Vargas Ballet Espagnol; Her impressions of Maria Alba; her early years in New York City.

Cassette 2 (ca. 67 min). [Sound quality poor] Her first impressions of Martha Graham and the Graham school; working at the Clark Center [interview pauses and resumes on 9/1/01] sketching and drafting plans for the stage; performances at the Delacorte Theater; the changing creative dynamic between choreographers and designers; her development of and involvement with the Technical Assistance Group Foundation; the organisation's goals, personnel and its eventual demise; the stage manager's primary relationship with the lighting designer; lighting designers that have influencedher including Nichola Cernovitch, Jean Rosenthal and Gilbert Helmsley.

Cassette 3 (ca. 70 min.) 09/29/01 [Sound quality good] The role of the stage manager within the production as a whole; her general impressions of the dancers and choreographers she has come to know through her work; stage managing different styles and genres of dance; particular artists with whom she has worked closely including Glen Tetley, Maria Alba, Lar Lubovitch, Martha Graham, Alvin Ailey, Mikhail Baryshnikov (also compares his personality to Rudolph Nureyev's), Merce Cunningham, Agnes De Mille, Lucia Chase, Bob Fosse; personal qualities necessary in a good stage manager; issues in teaching and learning stage managing.

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Datos enlazados


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schema:description"Cassette 3 (ca. 70 min.) 09/29/01 [Sound quality good] The role of the stage manager within the production as a whole; her general impressions of the dancers and choreographers she has come to know through her work; stage managing different styles and genres of dance; particular artists with whom she has worked closely including Glen Tetley, Maria Alba, Lar Lubovitch, Martha Graham, Alvin Ailey, Mikhail Baryshnikov (also compares his personality to Rudolph Nureyev's), Merce Cunningham, Agnes De Mille, Lucia Chase, Bob Fosse; personal qualities necessary in a good stage manager; issues in teaching and learning stage managing."
schema:description"Cassette 1 (ca. 55 min.). August 31, 2001. [Sound quality poor] Ms. Glorsky describes how she became interested in working backstage; her family; studying ballet with Mildred Hoffman; her experiences at Jacob's Pillow and her memories of Ted Shawn and Ruth St. Denis; working with John Christian; how her training as a dancer helped her as a stage manager; the influences of the many different artists with whom she has worked; the work of a stage manager; her first professional job stage managing at Jacob's Pillow with the Ximénez-Vargas Ballet Espagnol; Her impressions of Maria Alba; her early years in New York City."
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