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Interview with Twyla Tharp

Disc 2 (ca. 58 min.). Twyla Tharp continues to speak, briefly, with Don McDonagh about performing in Europe; her work Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid; her work Excess, idle, surplus [conversation ceases for ca. 2 min. as Tharp looks through papers]; the performinig of Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid at the Metropolitan Opera in New York City; the potential economic advantage of becoming an independent choreographer; more on Paul Taylor; Jerome Robbins, in particular his work The Goldberg variations [then in progress?]; Robbins' new work [In the night]; each of her dances as the solution to a choreographic problem [short gap]; more on Excess, idle, surplus, in particular as a work requiring a high level of technique; further discussion of individual works as solutions to individual problems including Group activities, After'suite, and Medley; Medley as her first work she viewed as an audience member; choreographing and rehearsing new pieces with her dancers, including examples from One, two, three and Medley; more on Medley and its outdoor setting; her reasons for not using music in her current choreography; answers questions about her early dance training and becoming a choreographer.

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  • "Track 2 (ca. 33 min.): Choreographer Twyla Tharp discusses the problems of being both a choreographer and performer; her training and background; Merce Cunningham; how she develops movement and the influence of ballet in her dances; her ballets Deuce coupe, As time goes by, and the Bix pieces."
  • "Disc 2 (ca. 12 min.). [Begins abruptly.] Twyla Tharp speaks with Don McDonagh about the concept of returning to basics - "square one" - in dance and in music; her physical condition; other personal matters relating to her sister and to Tharp's son, Jesse."
  • "Disc 2 (ca. 58 min.). Twyla Tharp continues to speak, briefly, with Don McDonagh about performing in Europe; her work Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid; her work Excess, idle, surplus [conversation ceases for ca. 2 min. as Tharp looks through papers]; the performinig of Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid at the Metropolitan Opera in New York City; the potential economic advantage of becoming an independent choreographer; more on Paul Taylor; Jerome Robbins, in particular his work The Goldberg variations [then in progress?]; Robbins' new work [In the night]; each of her dances as the solution to a choreographic problem [short gap]; more on Excess, idle, surplus, in particular as a work requiring a high level of technique; further discussion of individual works as solutions to individual problems including Group activities, After'suite, and Medley; Medley as her first work she viewed as an audience member; choreographing and rehearsing new pieces with her dancers, including examples from One, two, three and Medley; more on Medley and its outdoor setting; her reasons for not using music in her current choreography; answers questions about her early dance training and becoming a choreographer."@en
  • "[Begins abruptly. The first ca. 2 min. contains gaps and appears to be out of sequence. It is reiterated in part in the last part of track 12 and in track 13.] Twyla Tharp, Marcia B. Siegel, and at least one other woman speak with Don McDonagh about rehearsing, including the relationship between the time spent rehearsing and the time spent performing; her views on teaching; works by other choreographers that she likes; Merce Cunningham as a teacher; discussion among the speakers of feminism, marriage, and pursuing a career as an artist; male dancers, including their relative conservatism [gap]; the issues raised concerning an individual's appreciation of the arts, including unsophisticated versus sophisticated art and audiences; the works Tharp plans to have her company dance on tour in Paris; her work The one hundreds, including the mechanics of rehearsing a large group of performers; more on Cunningham as a teacher; more on female artists; how she came to choreograph for spaces other than a traditional proscenium stage; possible political implications of dance, in particular using an untraditional stage; discussion of Mauric Béjart, including reasons he is so popular in France; the circumstances of Tharp and her company's performance in City Hall in New York City [part of this last section, which begins in the latter part of track 12, reiterates part of the first ca. 2 min. of the recording, which, as noted above, appears to be out of sequence]."
  • "[Begins abruptly]. Twyla Tharp speaks with Don McDonagh about personal matters, including her son Jesse; a project [filming her dance All about eggs] she worked on with WGBH Boston ca. 1974; working with WNET/13 Television Lab, including her views on the use of techical effects; filming her work Eight jelly rolls for [the television program] London Weekend Televison; her problems when filming Sue's leg for a segment of the WNET/13 series Dance in America; lessons she has learned from working in television; her financial requirements regarding future choreographic commisions; a workshop she conducted for Andre Gregory's theatre group [Manhattan Theatre Group] and the resulting performance at Town Hall in New York City in 1975; a lecture-demonstration program, which included a work she refers to as "the new piece" [Give and take] at the Brooklyn Academy of Music; reason she abandoned her Chuck Berry work [Ocean's motion?]; George Balanchine's presence at the lecture-demonstration program, including his reaction to "the new piece" and her works Fugue and Eight jelly rolls; reason she no longer deposits tapes of her rehearsals at the Library [New York Public Library for the Performing Arts?]; watching a film of Balanchine's work Stars and stripes at the New York Public Library; her rehearsal tapes of Mikhail Baryshnikov; her experiences working with American Ballet Theatre and with the Joffrey Ballet; her annoyance regarding an article in The New York Times about her hair style."
  • "Disc 1 (ca. 65 min.). [Begins abruptly.] Twyla Tharp speaks with Don McDonagh about the recent London tour of her company [Twyla Tharp and Dancers] to film certain works for ITV, including Eight jelly rolls, and to perform live; the company's rehearsals in London; the publicity for the tour; Frederick Ashton's favorable opinion of the performance; the films made for ITV; the company's live performances, including the critical reception; the strain on the company of performing for nine consecutive nights; financial aspects of the tour; her plans regarding teaching, in particular the classes she plans to offer; her reasons for not maintaining a repertory; reasons she does not wish at this time to accept commissions for other companies; reasons for and conditions under which she would choreograph for New York City Ballet [short gap]; her current interest in using a Bach composition as a dance score; her feelings about her son, in particular regarding the effect on her work of having a child; her tendency to reject instruction in favor of self-help; her parents' self-reliance; her feelings about how her personality came across in a filmed interview; the relationship of personality and professional success, for example in the cases of George Balanchine and Frederick Ashton; discussion in general terms of Ashton's choreography and Balanchine's choreography; her difficulty in finding compatible musicians; the composers Steve Reich and Terry Reilly. [Ends abruptly.]"
  • "Twyla Tharp speaks with Don McDonagh about the schedule for her company [Twyla Tharp and Dancers] from February through August, including a television project and performances in London, England; her frustration that she is not currently dancing; filming her works, including her ideas for filming The one-hundreds; performing in Minneapolis; the characteristics of certain dancers in her company, including Rose-Marie Wright, Isabel Garcia-Lorca, Sara Rudner, Kenneth Rinker, and Tom Rawe; certain economic aspects of maintaining a company; her new work In the beginnings; more on her physical condition; the time-consumed in managing the company; the costumes for various works including In the beginnings, Eight jelly rolls, The fugue, and The bix pieces; the lighting designer, Jennifer Tipton."
  • "Disc 1 (ca. 62 min.). Twyla Tharp speaks with Don McDonagh about dancers she had recently seen in classes at Merce Cunningham's studio; the dancer Stephanie Simmons; dance critics and audiences; Clive Barnes and his retrospective articles; her work Tank dive, including the staging and Jennifer Tipton's lighting; her work Cede Blue Lake ; her work Unprocessed; her work Three page sonata for four, including the reasons she did not like it; her relationship with Paul Taylor and the Paul Taylor Dance Company; her work Stage show created for the 1965 New York World's Fair and performed only once; her work Stride, as filmed; her works without music, including One, two, three and Re-moves; performing in Europe, including the performing of Re-moves in slightly different versions depending on the venue; her work One ways; more on Paul Taylor and dancing his works; more on performing in Europe."@en
  • "[Begins abruptly.] Twyla Tharp speaks with Don McDonagh about working with the London television network ITV on a project to film her works Eight jelly rolls and The fugue, including the financing of the project; possible performance venues for her company [Twyla Tharp and Dancers] in London, including the London Roundhouse; problems with doing a London tour at this time including the withdrawal of a sponser; more on working with ITV [short gap]; more on finding a performance venue, including the Palladium; single events compared with performing in repertory; discussion of a recent Paul Taylor performance in New York City; Jerome Robbins' work N.Y. export, opus jazz and her thoughts on Robbins; her thoughts on the Joffrey Ballet's performances of her work As time goes by; the Channel 13 project to film her work, in particular the various people involved, including Merrill Brockway and Jennifer Tipton; her touristic activities during her recent trip to London; discussion of the interviewer's daughter and other family matters; more on upcoming professional activities; a recent performance by Merce Cunningham."

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  • "Interview with Twyla Tharp"
  • "Interview with Twyla Tharp"@en

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