Portal de Periódicos da CAPES

Ashton and MacMillan in Fairyland: Contrasting Styles in Le Baiser de la Fée

2006; Taylor & Francis; Volume: 29; Issue: 2 Linguagem: Inglês

10.1080/01472520600744977

1532-4257

Geraldine Morris,

Theater, Performance, and Music History

Click to increase image sizeClick to decrease image size Notes 1. Frederick Ashton, “Notes on Choreography,” in Walter Sorell, The Dance Has Many Faces (New York: Columbia University Press, 1992), p. 33. 2. Ibid. 3. A representative sample of these appears in Michael de Cossart, Ida Rubinstein (Liverpool: Liverpool University Press, 1987), pp. 133–9. 4. Frederick Ashton, “Baiser de la Fée,” The Old Vic and Sadler's Wells Magazine, vol. 2, No. 27, November 1935, p. 2. 5. Lynn Seymour, Lynn (London: Panther, 1985), p. 160. 6. Ibid., p. 163. 7. Jack Zipes, When Dreams Come True (New York and London: Routledge, 1999), p. 88. 8. David Vaughan, Frederick Ashton and his Ballets (London: Adam and Charles Black, 1977), p. 413. 9. Clive Barnes, “Le Baiser de la Fée,” Dance and Dancers, April 1960, p. 8. 10. Ibid. 11. Quoted in Jennifer Dunning, “The Man Behind Ashton's Touch,” New York Times, June 26, 1981. 12. “Sadler's Wells Baiser: ‘Baiser de la fée,’” The Times, November 28, 1935, p. 12. 13. H. H., “Ballet at Sadler's Wells,” The Observer, December 1, 1935, p. 33. 14. David Dougill, “In the Steps of the Master,” The Sunday Times, January 13, 1991, Section 7, pp. 2–3. 15. Barnes, “Le Baiser,” p. 10. 16. Peter Williams, “Le Baiser de la Fée,” Dance and Dancers, 1960, p. 21. 17. “Sadler's Wells Ballet,” The Times. 18. William Chappell, Fonteyn: Impressions of a Ballerina (London: Spring Books, 1951), p. 18. 19. Barnes, “Le Baiser,” p. 7. 20. Ninette de Valois, Step by Step (London: W. H. Allen, 1977), p. 83. 21. Ninette de Valois, Invitation to the Ballet (London: The Bodley Head, 1937), pp. 230—1. 22. Ibid., pp. 164–5. 23. P[hilip] J[ohn] S[ampey] Richardson, “Sitter Out,” The Dancing Times, June 1935, pp. 240, 242. See also P[hyllis] W[inifred] Manchester, Vic-Wells: A Ballet Progress (London: Victor Gollancz, 1946), p. 25. See also Jasper Howlett, “‘The Betrayed Girl’: A Note on The Rake's Progress,” The Dancing Times, July 1946, pp. 511–3), who disagrees. 24. Annabel Farjeon, “Dancing for de Valois and Ashton,” Dance Chronicle, Vol. 17, No. 2, 1994, pp. 195–206. 25. Manchester, Vic-Wells, p. 55. 26. Humphrey Claydon “The Art of Alicia Markova,” The Dancing Times, March 1938, pp. 784–6. 27. Ashton, quoted in Julie Kavanagh, Secret Muses: The Life of Frederick Ashton (London: Faber and Faber, 1996), p. 184. 28. Vaughan, Frederick Ashton, pp. 127–8. 29. Richardson, “Sitter Out,” The Dancing Times, July 1935, p. 358. 30. Ashton, speaking in Margot Fonteyn (London: Channel Four/RM Associates, 1989), TV film by Patricia Foy. 31. H.S. Sibthorpe untitled typescript, circa 1941, pp. 51–2. Theatre Museum, London. 32. Vaughan, Frederick Ashton, p. 127. 33. Ashton, quoted in Nancy Van Norman Baer, Bronislava Nijinska: A Dancer's Legacy (San Francisco: Department of Fine Arts Museums of San Francisco, 1986), p. 61. 34. See Edward Mandinian, The Fairy Queen (London: John Lehmann, 1948), Plate XVI, and Stephanie Jordan and Geraldine Morris, Ashton to Stravinsky: A Study of Four Ballets (Alton, Hants.: Dance Books, 2005), available to archives and libraries for educational use only. 35. Ashton, quoted in Hans-Theodor Wohlfahrt, “Ashton's Last Interview,” Dance Now, Vol. 5, No. 1, Spring 1996, pp. 25–30. 36. Richardson, “Sitter Out,” The Dancing Times, January 1936, p. 501. 37. Sibthorpe, typescript, pp. 51–2. 38. Margaret Dale, quoted in Vaughan, Frederick Ashton, pp. 124–6. 39. Ibid., pp.124,126. 40. Jordan and Morris, Ashton to Stravinsky. 41. Jennifer Penney, archives of The Royal Ballet, 1970; Fonteyn teaching the dance, privately owned video made by Patricia Foy for Nicola Katrak and Foy's television program, 1988, now held by Nicola Katrak; Fonteyn Conference, archives of the Royal Academy of Dance, 1999. 42. Fonteyn in video made by Patricia Foy of Fonteyn coaching unnamed Panamanian dancer, 1988. 43. Toby Bennett, “Cecchetti Movement and Repertoire in Performance,” in Proceedings, Society of Dance History Scholars, Twenty-First Annual Conference, University of Oregon, Eugene, Oregon, 1998, pp. 203–9. 44. Colin Nears and Bob Lockyer, Dance Masterclass: The Dream (London: BBC Production, 1988).TV film. 45. Merrill Ashley and Suki Schorer, The Balanchine Essays: Port de Bras and Épaulement (New York: produced by the George Balanchine Foundation, Inc. in association with Tatge/Lasseur Productions, Inc., 1994), film. 46. Seymour, Lynn, p. 78. 47. Kenneth MacMillan, quoted in Anthony Crickmay and Clement Crisp, Lynn Seymour (London: Studio Vista, 1980), pp. 9–12. 48. Mary Clarke, “Lynn Seymour: An Exceptional Talent,” The Dancing Times, June 1959, p. 446. 49. Seymour, Lynn, p. 19. 50. Lynn Seymour, “Kenneth MacMillan: The Early Years,” The Dancing Times, March 2002, pp. 23–30. 51. Seymour discusses her input in Lynn, pp. 161–2. 52. Ibid. 53. Amanda McKerrow, quoted in Mary Cargill, “A Conversation with Amanda McKerrow,” Ballet Review, Vol. 32, No. 2, Summer 2004, p. 83. 54. Margot Fonteyn, Margot Fonteyn: Autobiography (London: W. H. Allen, 1975), p. 52. 55. Deirdre McMahon, “MacMillan at Sixty,” Dance Theatre Journal, Vol. 7, No. 4, February 1990, pp. 34–7. 56. Ann Nugent, “MacMillan and the Conflict of Expressionism,” in Revealing MacMillan, conference papers, ed. E. Dunn and J. Still (London: Royal Academy of Dance, 2004), pp. 28–40. 57. John Percival, “Character and Classicism in Ashton's Dances,” in Following Sir Fred's Steps, ed. Stephanie Jordan and Andrée Grau (London: Dance Books, 1996), pp. 29–37. 58. Seymour, Lynn, p. 379.