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Interview with Ben Belitt

Disc 2 (ca. 47 min.). Belitt continues to speak about the significance of the title Errand into the maze, in particular the concept of the labyrinth; the origin of the title in a poem Belitt dedicated to Graham; the meaning of T.S. Eliot's phrase "at the still point the dance is", including the function of stillness in dance; his interpretation of the word maze; more on stillness and dance; the concept of wilderness compared to that of the maze; the maze in poetry; Graham's monomaniacal [or monomythical] treatment of characters such as the Witch of Endor and Medea; Joseph Campbell, James Frazier and their focus on the monomyth; the images of the desert and of Jacob's ladder Belitt found in Graham's then-unfinished work Diversion of angels; his contribution of the initial title, Wilderness stair; the reason for the change in title; more on the significance of the wilderness [ends abruptly].

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  • "Disc 2 (ca. 47 min.). Belitt continues to speak about the significance of the title Errand into the maze, in particular the concept of the labyrinth; the origin of the title in a poem Belitt dedicated to Graham; the meaning of T.S. Eliot's phrase "at the still point the dance is", including the function of stillness in dance; his interpretation of the word maze; more on stillness and dance; the concept of wilderness compared to that of the maze; the maze in poetry; Graham's monomaniacal [or monomythical] treatment of characters such as the Witch of Endor and Medea; Joseph Campbell, James Frazier and their focus on the monomyth; the images of the desert and of Jacob's ladder Belitt found in Graham's then-unfinished work Diversion of angels; his contribution of the initial title, Wilderness stair; the reason for the change in title; more on the significance of the wilderness [ends abruptly]."@en
  • "Disc 3 (ca. 48 min.). [Continues with Belitt speaking about the wilderness.] Graham's conceptions of Clytemnestra and the Witch of Endor; the concept of the king in the Bible and the problem of the double Messiah; the source and significance of the title of the Graham dance Canticle for innocent comedians; Graham's ignoring of Belitt's advice regarding the nature of the characters Clytemnestra and the Witch of Endor; the dichotomy of will (or control) and imagination in the artist; Graham as the very personification of the Witch [of Endor] and Medea; forgiveness as a central theme in Graham's [later?] dances; the importance of accepting unresolved questions; the relationship of this idea to the concept of depth in art as well as the concepts of the maze and of stillness; stillness, empty space, and the dance [ends abruptly]."@en
  • "Disc 4 (ca. 45 min.). Stillness and control in Graham's dance Primitive mysteries; Graham's use of literary sources in her work, especially poetry; his opinions regarding the correct relationship of text and choreography, using examples from Letter to the world, Jean Erdman's The coach with the six insides, Doris Humphrey's Lament for [Ignacio Sánchez Mejías], Valerie Bettis's As I lay dying and Desperate heart, and Graham's American document, The owl and the pussycat, and The Punch and the Judy [interruption]; working with dancers at Connecticut College on the use of poetry in dance; more, in general terms, on the use of poetry in dance; more on his work at Connecticut College; more on Bettis and As I lay dying; his own poetry; his personal and professional relationship with Graham, including their first meeting at Bennington College and her working methods; more on the use of literature in dance."@en
  • "Disc 1 (ca. 47 min.). Ben Belitt speaks about Arch Lauterer as his mentor, including Lauterer's introducing him to German design and to Hanya Holm and her work [interruption]; Belitt's preference for Martha Graham's choreography over Holm's; spending the summer [in 1939] at Mills College; returning to Bennington College and working on Lauterer's dance-drama The bridge; working on dance productions at Bennington College; Graham's work, American document; the integration of text with choreography; Lauterer's approach to set design; the shaping of stage space and the influence of [Adolphe] Appia; Jean Erdman's performance as the Lady in white in Graham's Letter to the world; compares the style of Emily Dickinson's poetry with the style of Graham's choreography; the significance of the title of Graham's work Errand into the maze."@en

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  • "Interview with Ben Belitt"@en

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