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Interview with Alicia Alonso

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  • "Summary: Alicia Alonso recalls dancing Giselle for the first time with Anton Dolin; discusses her interpretation of Giselle; George Balanchine; Agnes de Mille; Ballet Nacional de Cuba; her eye operations. Recordings of selections from the score for Giselle and of the Tchaikovsky Suite no. 3 used for Balanchine's Theme and variations are played."
  • "Alicia Alonso speaks with Kyra Lynn Kaptzan about her early dance training in Spain and Cuba; dance companies she saw in Cuba; the circumstances of her leaving Cuba for the U.S.; her dance training and early career in New York City, including her joining Ballet Theatre; her problems with her eye sight; reasons she concentrates on technique; founding Ballet Nacional de Cuba; touring with Ballet Alicia Alonso; dances choreographed on her; her approach to Giselle; her curtain call bows; leaving the U.S. to live in Cuba and focus on the Ballet Nacional de Cuba; the recruiting of dancers; her staging of ballets for other companies; her own choreographing; the company's choreographers, including Alberto Alonso; family members who work in her company; cultural exchanges with the U.S."
  • "Interview with Alicia Alonso: audio portion of television show hosted by Dick Cavett (tracks 7-12, ca. 30 min.; begins ca. 2 min. into track 7). Music; introduction by Dick Cavett; music from footage being shown of Alicia Alonso dancing Giselle; Alonso speaks with Cavett about art as an essential element of humanity; her problems with her vision and the effect on her dancing; knowing when to retire; an anecdote about Igor Youskevitch; her feeling that her art is not limited by political concerns; an anecdote about performing in Eugene Loring's ballet Billy the Kid."
  • "Alonso speaks about her career; the creation of Cuba's national ballet school and company, the Ballet Nacional de Cuba, from 1948 to the present; the role of Fernando Alonso in the development of dance in Cuba; Ms. Alonso's development as a dancer; the teachers who influenced her; technique as the key to expressive freedom. Alonso speaks about the relationship of the company to the revolution in Cuba; her view of the relationship between the national origins of a dancer and the universality of the art of dance. Following the interview, Marian Horosko describes the time and place of the interview and the current situation of Alonso and the company."
  • "Disc 2 (ca. 7 min.). Serge Lifar's Albrecht and staging of Giselle; Alonso's views on the staging of Giselle [ends abruptly]."
  • "Disc 1 (ca. 63 min.). Alonso speaks about substituting for Alicia Markova in the role of Giselle; defining Giselle for herself; the importance of working closely with the corps de ballet; discussion of different versions of the ballet; type and degree of pointe work in the ballet as originally performed; dancing with Igor Youskevitch as Albrecht; her interpretation of Giselle's character and cause of death; her interpretation of Hilarion's character [gap]; her view of Lise in Fille mal gardée; her continuing introduction of changes in her dancing of Giselle; discussion of Galina Ulanova's Giselle; Alicia Markova's Giselle; Alonso's triple roles as performer, teacher, and director of her own company; discussion of different partners; the Ballet Nacional de Cuba; other dancers' Giselles; working with Anthony Tudor; brief discussion of other productions of Giselle and of other partners [ends abruptly]."

  • "Interview with Alicia Alonso"
  • "Interview with Alicia Alonso."
  • "Interview with Alicia Alonso [sound recording]"