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Interview with Theodora Wiesner

Disc 1 (ca. 46 min.). Wiesner describes her development in modern dance; her encounter with Martha Hill at New York University; studying and teaching at Bennington College's summer dance program during the 1930's and 1940; teaching at the Univ. of Pennsylvania; studying with Louis Horst, Norman Lloyd, and Martha Graham. She compares Martha Graham's to Doris Humphrey's technique and choreographic styles and describes performing in Graham's work Panorama.

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  • "Disc 2 (ca. 30 min.). Theodora Wiesner speaks with Don McDonagh about the avant garde in music and dance, and Louis Horst's contribution; Martha Graham as Miss Hush and the local radio contest; dance tours, and the gymnasium circuit; Geordie Graham, and dancing with Graham; ways in which Graham would work with composers, scores and choreography; Graham's choreography in the 1950s, including Seraphic dialogue; public sentiment regarding Graham and her dancers; audience's inability to understand Graham's choreography; the change in audience response and gradual approval; the changes in art, dance, and music, and the contemporary attitudes toward visual arts, especially the avant garde; politics of the 1940s and 1950s; McCarthyism and links to communism; adventurousness viewed as communist [abrupt end]."
  • "Disc 1 (ca. 46 min.). Wiesner describes her development in modern dance; her encounter with Martha Hill at New York University; studying and teaching at Bennington College's summer dance program during the 1930's and 1940; teaching at the Univ. of Pennsylvania; studying with Louis Horst, Norman Lloyd, and Martha Graham. She compares Martha Graham's to Doris Humphrey's technique and choreographic styles and describes performing in Graham's work Panorama."@en
  • "Disc 1 (ca. 32 min.). Theodora Wiesner speaks with Don McDonagh about attending New York University and taking dance lessons from Martha Graham; early Graham classes in the 1930s that were Denishawn inspired; the frequency of performances; her first transcontinental tour, consisting of 6 weeks with 3 performances per week; Graham's original dance trio; Graham as soloist; the need for students to have supplemental jobs in order to continue dancing without pay; the average size of Graham's dance classes; Merle Armitage's role in the Graham company tours; the first piece she danced in, Heretic; her favorite Graham dances, including Primitive mysteries and Letter to the world; the style of Graham's movement and the tension created; the difficulty younger dancers have in learning Graham pieces; Merce Cunningham and Erick Hawkins, and their respective influence on the Graham company; Bennington school and Mills College, and the summer dance programs; attending Bennington; the layout of the Bennington campus, including dorms, studios, etc.; dancing in Panorama, and the effect that had; Alexander Calder's sculpture used at Bennington for the dance, Panorama; Louis Horst's influence on Graham."
  • "Disc 3 (ca. 59 min.). Wiesner speaks about the summer of 1938 at Bennington; studying at Mills College in 1939; describes Erick Hawkins and Merce Cunningham in Graham's company; performing in Graham's work Primitive mysteries; working for the U.S. Navy; the development of Connecticut College's summer dance program and becoming director of that program."@en
  • "Disc 2 (ca. 38 min.). Wiesner speaks about taking classes at Bennington; studying dance criticism with John Martin; dancing for Graham; Graham's approach as compared to that of Humphrey-Weidman to dance technique and style; her impressions of Hanya Holm and the influence of German modern dance on dance in the U.S."@en

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  • "Interview with Theodora Wiesner"@en
  • "Interview with Theodora Wiesner"
  • "Interview with Theodora Wiesner [sound recording]"

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