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Interview with Jerome Robbins

Jerome Robbins speaks with Ellen Sorrin about meeting and auditioning for Senia Gluck-Sendor, including an anecdote; studying dance and theater with him; performing in the Brothers Ashkenazi; beginning his study of ballet at Gluck-Sandor's suggestion; Gluck-Sandor's varied background; his dance Seagull; an anecdote about Robbins' first ballet performance, as an assistant eunuch in Scheherezade; his impressions of Felicia Sorel; performing in Gluck-Sandor's El amor brujo; Gluck-Sandor as the rabbi in the musical comedy Fiddler on the roof; Gluck-Sandor's painting; possible reasons Gluck-Sandor is not well-known today [short gap]; his possible influence on Robbins.

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  • "Jerome Robbins speaks with Don McDonagh about the problems with filming dance for television, in particular its cost, as for example, in the filming of his work Other dances; the difficulty of finding camera operators experienced in shooting dance; the inherent limitations of film to capture the energy of a dance performance; creative impasse as the most frustrating aspect of choreographing and George Balanchine's advice as to how to get through it; practical problems with filming dance, including the frequent interruptions that inevitably ocurr; the changes in the way his ballet Dances at a gathering has been performed since he created it; the problem of authenticity when performing works created in the past, with his experience of dancing in Vitale Fokine's version of Schéhérazade as an example; more on the inherent difference between the viewpoint of the live spectator and that of the television watcher; where the cameras should be placed; more on his working methods, including his extensive preparation before entering the studio; Edwin Denby as a critic who can cause him to take another look at both his own and others' works; factors that can affect one's perception of a ballet, including the audience's mood and the costumes; the fact that none of his filmed-for-television ballets were created for the camera; attempts to describe, in response to McDonagh's question, what constitutes a choreographic idea; an anecdote about the choreographing of his work The Goldberg variations; his view that the televison series Dance in America [WNET/Thirteen's Great performances: Dance in America series] does not adequately compensate choreographers; tells an anecdote about his father to illustrate the general public's lack of understanding as to what choreographers do [ends abruptly]."
  • "Disc 2 (ca. 26 min.) Robbins discusses his interpretation of Glass' music for Glass pieces (1983); his future plans; the places he likes to spend time, including Spoleto, Italy, and New York City; his various circles of friends; his attendance of performances and cultural events, and his reading interests [disc ends abruptly]."
  • "Johnny Green introduces Jerome Robbins; excerpt (ca. 3 min.) from recording of Leonard Bernstein's score for Robbins' ballet Fancy Free (1944). [Pause.] Robbins discusses writing the scenario for Fancy free and getting it produced by the American Ballet Theatre; how he came to ask Bernstein to write the score; their manner of collaboration; Robbins explains his use of choreography in relation to a work as a whole; his method of working with dancers and his perfectionism; excerpt (ca. 2 min.) from Bach's Goldberg variations. [Pause.] Robbins discusses his conception of West side story; working with Arthur Laurents and Bernstein on the project; Lawrence's idea for incorporating gang warfare; bringing in Stephen Sondheim; the difficulty in getting producers interested in the work; the high artistic quality of the production and dedication of the performers and production staff; Robbins' goal of clear communication with the audience; society and its acceptance of artistic versus commercial work; Labanotation as a means for preserving choreography; the U.S. at the vanguard of dance; excerpt (ca. 4 min.) Cool from the cast recording of West side story; discussion of the music for the film West side story (1961) which Robbins is currently directing and his efforts to maintain its fidelity to the original score; excerpt (ca. 4 min.) Something's coming from the cast recording of West side story; concluding remarks; unidentified piano music."
  • "Jerome Robbins speaks with Ellen Sorrin about meeting and auditioning for Senia Gluck-Sendor, including an anecdote; studying dance and theater with him; performing in the Brothers Ashkenazi; beginning his study of ballet at Gluck-Sandor's suggestion; Gluck-Sandor's varied background; his dance Seagull; an anecdote about Robbins' first ballet performance, as an assistant eunuch in Scheherezade; his impressions of Felicia Sorel; performing in Gluck-Sandor's El amor brujo; Gluck-Sandor as the rabbi in the musical comedy Fiddler on the roof; Gluck-Sandor's painting; possible reasons Gluck-Sandor is not well-known today [short gap]; his possible influence on Robbins."@en
  • "Disc 1 (ca. 48 min.) Jerome Robbins speaks briefly about his upcoming retrospective, Jerome Robbins' Broadway (1989). [Interview begins after a short pause.] Robbins discusses his early influences, including the dance classes of Senia Gluck-Sandor and Felicia Sorel; Gluck-Sandor's ideas and teaching; his first experiences with ballet; auditioning for George Balanchine and working with him on Broadway, and then for American Ballet Theatre; more on his work with Balanchine [break]. Robbins discusses the influence of the Works Progress Administration in developing his interest in American culture; his admiration for Tanaquil Le Clercq and Maria Tallchief in Symphony in C (Ballet Society, 1948); Le Clercq's importance to his choreography; working with Balanchine and the New York City Ballet during the 1950s; his social life during the period; his friendship with Le Clercq and Balanchine; working with Ethel Merman in Gypsy (1959); the unifying creative approach taken by Robbins and his collaborators for West side story (1957); the difficulty in getting the show produced; its innovative aspects in score, scenery, and the use of dancers; his direction and choreography of Fiddler on the roof (1964); the choreography for Jerome Robbins Broadway in relation to the original works."

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  • "Interview with Jerome Robbins"@en
  • "Interview with Jerome Robbins"

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