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Interview with Eugene Loring

Loring discusses the dance department of the University of California, Irvine; his system of dance notation, Kinesiography; his ideas on dancing and choreography.

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  • "Disc 3, May 8, 1975 (ca. 45 min.). Eugene Loring speaks with Marilyn Hunt about his wish that works he created since Billy the Kid had greater exposure to the public; his work Folkdances of a mythical country; his trio of works entitled Prisms, pinions, paradox; his work City portrait; his association with Ballet Theatre including his responsibilities as head of the American wing; his work Great American goof, including its use of a spoken script by William Saroyan; some of Loring's roles in dance, theater, and film, including in Saroyan's The beautiful people; reasons for his falling out with Ballet Theatre; his informal discussion group with Michael Kidd, Agnes de Mille and others."
  • "Disc 4, ca. 60 min.: May 10, 1975 (tracks 1 through ca. 40 sec. of track 8) and May 13, 1975 (track 8, at ca. 40 sec. through track 12). Eugene Loring speaks with Marilyn Hunt about the film Deep in my heart; choreographing for actors on film, including Cyd Charisse and Ann Miller; the film Funny face and Audrey Hepburn; his use of assistants; the film Meet me in Las Vegas, including its incorporation of a modern version of The sleeping beauty; the film Silk stockings, including censorship of certain scenes; the film Pepe, including its use of Cinemascope [gap followed by the beginning of the May 13 session]; his work in television, including the program Crescendo [CBS Dupont show of the month telecast September 29, 1957]; The story of a dancer [1962, for NBC's documentary series "The story of..."]; differences in filming for television and for the cinema; staging Billy the Kid for television [for the WCBS-TV Omnibus series, telecast November 8, 1953]; his work Capital of the world, including the circumstances of its creation originally for television [for the WCBS-TV Omnibus series telecast on December 6, 1953] and later stage production [trails off and continues directly on disc 5]."
  • "Disc 7, May 13, 1975 (ca. 73 min.). Eugene Loring speaks with Marilyn Hunt about the American School of Dance, in Hollywood, Calif. and some of its alumni; reasons he closed the school; his current writing projects; Jerome Robbins as a young man; the dance department at the University of California, at Irvine, including the curriculum; his choreography class; dance notation, including the dance notation course at University of California and his own system, Kinesiography; more on the dance department's curriculum, including its professional nature, the student workshops, and the syllabi; the second Dance Players company; American dance today."
  • "Disc 5, May 13, 1975 (ca. 69 min.). Eugene Loring continues to speak with Marilyn Hunt about the Omnibus production of Capital of the world; his work The sisters; choreographing for the Joffrey Ballet; his working methods when choreographing a new dance [gap]; his company, Dance Players [this was the first of several companies that he formed with this name]; his revising of Billy the Kid and City portrait; his work Prairie, including his use of pointe work and the score by Norman Dello Joio; the Dance Players' summer in New Hope, Penn.; his work The man from Midian; his work The Duke of Sacramento; his Broadway work, including Carmen Jones and Three wishes for Jamie [trails off and continues directly on disc 6]."
  • "Disc 6, May 13, 1975 (ca. 58 min.). Eugene Loring continues to speak with Marilyn Hunt about his work for Broadway, including working with Jack Cole on Kismet; Silk stockings, including differences between the film and the stage versions; work for the Los Angeles Civic Light Opera, including The great waltz; working with Arthur Freed at MGM [Metro-Goldwyn-Mayer]; working in film, including as compared to working with live theater; working with Vincente Minnelli; his work in other films as choreographer, musical director, and actor, including his staging a number in Ziegfeld follies; playing a jockey in the film National Velvet; choreographing in the film Yolanda and the thief, including working with Fred Astaire; the dream sequence ballet in Yolanda and the thief; choreographing in the film, The 5,000 fingers of Dr. T; the film Fiesta and his study of bull-fighting; working with Donald O'Connor on the film Something in the wind; working with Danny Kaye in The inspector general; more on working with Astaire in Yolanda and the thief; Joe Pasternak, Rita Moreno, and the film Toast to New Orleans; the dancer James Mitchell [ends abruptly]."
  • "Loring discusses the dance department of the University of California, Irvine; his system of dance notation, Kinesiography; his ideas on dancing and choreography."@en
  • "Disc 1, May 8, 1975 (ca. 55 min.). Eugene Loring speaks with Marilyn Hunt about his early studies in music; his early theatrical experience in Milwaukee with the Wisconsin Players; reasons he became a ballet dancer; reasons he liked modern dance; studying at the School of American Ballet, including Pierre Vladimiroff's classes; George Balanchine as a teacher; Michel Fokine, including Loring's professional debut as a dancer with Fokine's company; his roles in early Balanchine ballets, including the Photographer in Alma mater, the Jack in Jeu de cartes, and a flying fury in Orpheus; touring with Ballet Caravan; Lincoln Kirstein; Loring's first work, Harlequin for president; his work Yankee clipper [trails off and continues directly on disc 2]."
  • "Disc 2, May 8, 1975 (ca. 58 min.). Eugene Loring continues to speak with Marilyn Hunt about his work Yankee clipper; his work Billy the Kid, including his concept of Billy's character; the barn dance section; working with the composer Aaron Copland; reasons he thought Alicia Alonso was perfect for her role [Mother/Sweetheart]; more on his conception of Billy the Kid's character and the work overall [gap]; his use of silence in the work; the audience's response and critical reception of the work; his evaluation of various dancers in various roles in the work; his concept of the role of the Sweetheart, including reasons she is the only dancer on pointe; changes he has made in the work since its first performance [trails off and continues directly on disc 3]."

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  • "Interview with Eugene Loring"@en
  • "Interview with Eugene Loring"

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