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|Named Person:||Nona Schurman; Deborah Jowitt; José Limón; Doris Humphrey; Pauline Lawrence; Martha Graham; Charles Weidman; Harriette Ann Gray|
|Document Type:||Visual material|
|All Authors / Contributors:||
Nona Schurman; Deborah Jowitt; Ann Vachon; Malachi Roth; Jeff Levy-Hinte; Dance Conduit (Company); Antidote Films (Firm)
|Performer(s):||Interviewer: Ann Vachon.|
|Description:||2 videocassettes (VHS, NTSC) (126 min.) : sd., col. ; 1/2 in.|
|Contents:||Cassette 1. [Interview with Nona Schurman] (ca. 63 min.) / Nona Schurman discusses her first impressions of José Limón as a teacher of Humphrey-Weidman technique; the contrast between the Humphrey-Weidman and Graham techniques in the early years; her own teaching experience; Limón's participation in the Humphrey-Weidman group's "10th Street menage"; the creation of Limón's Danzas mexicanas at Mills College in 1939, and its editing by Doris Humphrey; the artistic roles of Pauline Lawrence (later Limón's wife); Limón's inability to create comic works, contrasted to Humphrey's Race of life and other works by Martha Graham and Charles Weidman; Schurman's backstage job at the Roxy Theater; the philosophical and political bases of the Humphrey-Weidman Company as demonstrated, for example, by Weidman's Traditions. Cassette 2. [Interview with Nona Schurman, continued] (ca. 7 min.) / preceded by ca. 5 min. of nature shots. Schurman discusses performing with the U.S.O. during World War II; her loss of contact with Humphrey; dancing in the first revival of Humphrey's Shakers. She sums up Limón's special qualities as a choreographer. [Interview with Deborah Jowitt] (ca. 51 min.) / recorded in New York City in 1997? Deborah Jowitt discusses her first view of Limón as a performer; dancing in his work Missa brevis as a member of Juilliard Dance Theater; the contrast of his approach and that of her previous teacher, Harriette Ann Gray; her observations of his working relationship with Doris Humphrey, his artistic mentor; the qualities of his choreography, including his creation of a powerful stage persona, his depiction of themes of the outsider and internal conflict, his masterly use of dance to express emotional states, the architectural patterning of his large-scale works, the sense of weightiness in his works. She also discusses the question of whether his works retain their appeal to present-day audiences; female roles in his choreography; the enduring qualities of his choreography; the teaching of Weidman and Gray; the German roots of American modern dance; American dominance of modern dance between World War II and the 1960s; Limón's distinguished and exotic physical appearance. The discussion touches upon many of Limón's works, including The Emperor Jones, The apostate, La Malinche, The winged, A choreographic offering, Carlota, The moor's pavane, and others.|
|Series Title:||Limón: a life beyond words|
|Responsibility:||Dance Conduit/Antidote Films ; directed by Malachi Roth ; produced by Ann Vachon and Jeffrey Levy-Hinte.|
- Schurman, Nona -- Interviews.
- Jowitt, Deborah -- Interviews.
- Limón, José.
- Humphrey, Doris, -- 1895-1958.
- Lawrence, Pauline.
- Graham, Martha.
- Weidman, Charles.
- Gray, Harriette Ann.
- Humphrey-Weidman Company.
- Danzas mexicanas (Choreographic work : Limón)
- Race of life (Choreographic work : Humphrey)
- Traditions (Choreographic work : Weidman)
- Shakers (Choreographic work : Humphrey)
- Emperor Jones (Choreographic work : Limón)
- Moor's pavane (Choreographic work : Limón)
- Dancers -- Political activity.