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Interview with Pauline Koner

Disc 2 (ca. 46 min.).[Begins abruptly.] Koner denies any influence from Martha Graham; speaks about the long-lasting adverse effects on her career of a 1939 article by John Martin; more on dancing for Strawbridge; dancing and teaching in the [former] Soviet Union in 1935-1936; various elements she took from her teachers, Fokine, Cansino, Ito, and Nimura in synthesizing her own style; works she created in 1939 based on the Spanish style; her Soviet dances; Martin's criticism of her dances as too balletic; more on her Spanish-style dances; the closed circuit television programs, entitled Choreotones, she created with Kitty Doner beginning in 1945; her first collaboration with Doris Humphrey; dancing with José Limón in Humphrey's work The story of mankind; dancing in Limón's work La malinche; introducing Lucas Hoving to Limón; her creative input in Limón's works; compares her style with that of the dancers in Limón's company [José Limón Dance Company]; beginning to choreograph her own group works with Humphrey as artistic advisor; her early works including The visit, The amorous adventure, and Cassandra; her and Graham's ability to create both comic and dramatic works; more on Cassandra; her work Shining dark; the contraction; aspects of dancing she emphasized when teaching [ends abruptly].

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  • "Disc 1; 03/12/1975 (ca. 61 min.). Pauline Koner speaks with Peter Conway about her life and career including her classes with Michel Fokine; her realization that she did not want to dance on pointe; her dance improvisations when she was a child; her dance training before she studied with Fokine; her study of Spanish dancing; her fascination since childhood with anything Oriental; seeing Anna Pavlova dance; more on her early self-created solos; studying with Michio Ito at the Ballet Arts studio while continuing her higher education; joining Ito's company and touring; the eclectic nature of the company's programs; Ito's training including the Dalcroze method; Ito's work as her first exposure to Oriental dance; her lifelong tendency to find her own way, artistically; the problems with current performances of José Limón's The moor's pavane, in particular what she feels is a misguided interpretation of her former role, Emilia; motivation as necessary to her dancing [ends abruptly but resumes directly on disc 2]."
  • "Disc 5, 06/06/1975 (ca. 61 min.). Pauline Koner speaks with Peter Conway about her new work, Solitary songs, opus III [a third part to her work Solitary songs]; her professional activities following the 1939 dance recital, including her work in television with Kitty Doner; Doris Humphrey and the role she played in Koner's development as a choreographer, beginning with Koner's work Voice in the wilderness; the reasons Koner turned to Humphrey and Humphrey's working method; Humphrey's The story of mankind including how Koner came to dance in it with José Limón; her continuing to dance with Limón and his growing company [José Limón Dance Company], first, with Lucas Hoving, in La malinche and then in The moor's pavane; her choreographing of her own parts; Humphrey's role in the company and as Koner's artistic adviser; Humphrey's illness; Limón's work The visit [The visitation]; the film version of The moor's pavane; her favorite works from that period; a hopeful ending as characteristic of Humphrey's work, as in Ruins and visions [ends abruptly but continues directly on disc 6]."
  • "Pauline Koner speaks with Don McDonagh about the Ballet Arts studio at Carnegie Hall [used by Michio Itō] and its manager, Alys Bentley; its current manager, Virginia Lee; Itō and the musical comedy The Greenwich Village follies; his minimal use of props and lighting in his dance concerts; various influences on Itō, including the "Sacharoffs" [i.e., Alexandre and Clotilde Sakharoff]; touring with Itō and his company; her lack of any modern dance training; her early training with Michel Fokine and decision not to become a ballet dancer; how Geordie Graham came to dance for Itō; his tango; his style of movement and technique; other dances Itō and his company performed, including a Burmese dance, a dance titled A pair of fans, a spear dance, a dance titled Joy set to a score by Schumann, a Javanese-style dance, and a dance set to a score by Debussy; more on Itō's tango, including the costume [short gap]; the manner in which Itō spoke about choreography; her early development as a choreographer isolated for the most part from modern dance choreographers such as Martha Graham and Doris Humphrey; the series of events that led to her long association with Humphrey and José Limón; the common misconception that she had studied with them; her incorporation of certain of Humphrey's principles into her own work, e.g., suspension and fall and recovery; various events in her career, including touring and teaching in the U.S.S.R., Leonide Massine's Pas d'acier, and dancing for Fokine; her first solo performance, at the Guild Theater, and John Martin's review; various aspects of producing a dance concert at that time; how she came to take lessons with Fokine; her father's providing of legal services to Fokine in exchange for Koner's lessons; more on her experiences in the U.S.S.R. [ends abruptly]."
  • "Disc 7, 06/11/1975 (ca. 61 min.). Pauline Koner speaks with Peter Conway about her professional activities after leaving José Limón's company including her staging of her work Concertino in Chile; the distortion her works and roles have suffered in performance over the years; the role of Emilia in The moor's pavane including Sallie Wilson's interpretation; teaching modern dance in Italy; more on The farewell including its filming; her work La poème, created for the Alvin Ailey Company; her seven-month stay in Japan where she taught and staged works; accepting a position at the newly-established North Carolina School of the Arts and deciding to concentrate on solo works; her work Solitary songs [ends abruptly but continues directly on disc 8]."
  • "Disc 6, 06/06/1975 (ca. 38 min.). Pauline Koner continues to speak with Peter Conway about Ruins and visions; briefly, José Limón and Lucas Hoving as dancers; her final duet with Limón, in their joint work Barren sceptre; leaving the José Limón Dance Company in 1960 after an injury; The farewell, her tribute to Doris Humphrey; more on leaving Limón's company; her feelings about performing; more on The farewell; her husband and mother as artistic advisers and her recent use of video recording to evaluate her work; her revivals of Concertino [Concertino in A major] and The shining dark; more on The farewell, including its role as a turning point in her choreography; the continuing validity of Humphrey's choreographic principles."
  • "Disc 2 (ca. 46 min.).[Begins abruptly.] Koner denies any influence from Martha Graham; speaks about the long-lasting adverse effects on her career of a 1939 article by John Martin; more on dancing for Strawbridge; dancing and teaching in the [former] Soviet Union in 1935-1936; various elements she took from her teachers, Fokine, Cansino, Ito, and Nimura in synthesizing her own style; works she created in 1939 based on the Spanish style; her Soviet dances; Martin's criticism of her dances as too balletic; more on her Spanish-style dances; the closed circuit television programs, entitled Choreotones, she created with Kitty Doner beginning in 1945; her first collaboration with Doris Humphrey; dancing with José Limón in Humphrey's work The story of mankind; dancing in Limón's work La malinche; introducing Lucas Hoving to Limón; her creative input in Limón's works; compares her style with that of the dancers in Limón's company [José Limón Dance Company]; beginning to choreograph her own group works with Humphrey as artistic advisor; her early works including The visit, The amorous adventure, and Cassandra; her and Graham's ability to create both comic and dramatic works; more on Cassandra; her work Shining dark; the contraction; aspects of dancing she emphasized when teaching [ends abruptly]."@en
  • "Disc 1, ca. 63 min. Pauline Koner speaks about the choreographic guidance she received from Doris Humphrey; the beginning of her association with José Limón; reasons she and Limón were such well-suited partners; members of Limón's company at the time [ca. 1948]; Humphrey's work Corybantic; Limón's pieces the Moor's pavane and Malinche and her roles in these works [brief discussion of a number of pieces mainly to confirm composers, dates, and other details]; Limón as a person; why she dislikes reading transcripts of her oral interviews [ends abruptly]."
  • "Disc 4, 03/15/1975 (ca. 41 min.). Pauline Koner continues to speak with Peter Conway about her trip to the former Soviet Union. including her unsuccessful attempt to return for a second tour; her 1939 New York City dance recital, including her interview with Earl Wilson, and her belief that it adversely influenced John Martin's review of her performance; the effect of the review on her career; her husband, Fritz Mahler; more on Martin and his review; some of the works performed at the recital including Among the ruins and Song in the slum; joining José Limón's company [José Limón Dance Company] as her new beginning; more on the 1939 dance recital, including her use of songs by George Gershwin and music by Trude Rittman; her Spanish style-inspired dances The tragic fiesta and Dances of yesterday; this recital as her first truly modern dance program; her costumes."
  • "Ms. Koner discusses working with José Limón on The moor's pavane; Emperor Jones; various versions of The moor's pavane; dance notation; the difficulties of reconstructing choreography; setting modern works on ballet companies; Barren sceptre, a duet created with Limón and based on Macbeth; transforming a play into dance; José Limón; Valerie Bettis' Streetcar named desire; Flemming Flindt's The lesson."
  • "Disc 3, 03/15/1975 (ca. 60 min.). Pauline Koner speaks with Peter Conway about her career after her return from the Middle East including briefly, dancing with Edwin Strawbridge and his pick-up company at Lewisohn Stadium; briefly, Strawbridge's background; her performance of a Spanish dance at Radio City Music Hall; her 1934 dance concert at the Little Theater in New York City and its focus on Middle Eastern-style dances, including Yemenite dances; her two summers at Green Mansions [a resort and its theater in New York's Adirondack Mountains]; dancing and teaching in the [former] Soviet Union and her many varied experiences there, including Soviet dancers she met, ethnic dances she saw, the trains and food, and the theater, including its political aspects [ends abruptly but resumes directly on disc 4]."
  • "Disc 2, 03/12/1975 (ca. 37 min.). Pauline Koner continues to speak with Peter Conway about the necessity, for her, of motivation in dance; her role as steel in Edwin Strawbridge's ballet Pas d'acier; non-narrative or pure dance as contrasted to dance from which emotion is absent; her awaking to the possibilities of modern dance after seeing Mary Wigman and Harald Kreutzberg dance; more on touring with Michio Ito and his company; how she came to meet and dance with Yeichi Nimura; a unique type of movement she learned from Ito and Nimura; the sources for her ethnic dances; her solo concert tour in the Middle East in the early 1930s, including her improvisations; her research in Egypt regarding Bedouin and other ethnic dances; her approach to ethnic dance as focused on the style rather than the individual steps; her frequently being mistaken for a different ethnicity or nationality than her actual Russian-American heritage."
  • "Disc 2 (ca. 60 min.). [Recording begins ca. 1:30 min. into track 1.] Pauline Koner speaks with Selma Jeanne Cohen about Doris Humphrey including how she continued to work even during the last few months of her life on her choreography and her writing; her stoicism; the significance of her book on choreography [The art of making dances, c1959]; more on how Humphrey taught choreographic theory; her emotional reserve and formal manners; her reaction to Koner's criticism regarding a work; Humphrey's humanity as existing on a universal rather than a personal plane; speculation regarding her relationship with Charles Weidman; the one-sided nature of Koner's emotional involvement with Humphrey and José Limón; Humphrey's close relationship with her cat, Monahan [?]; Ruth Currier; Koner's and Humphrey's shared feelings about music; Humphrey's economic situation [ends abruptly]."
  • "Disc 1 (ca. 62 min.). Pauline Koner speaks with Selma Jeanne Cohen about Doris Humphrey including working with her on Koner's solo Voice in the wilderness; how working with Humphrey altered the direction of Koner's choreographic thinking; her ability to draw out dancers' individual abilities; Letitia Ide as the dancer most like Humphrey as a dancer; José Limón including Humphrey's influence on him; how Humphrey helped her choreograph, including Koner's work Cassandra; Humphrey's metaphorical use of trees and branches when choreographing and how this influenced Koner; Humphrey's Story of mankind, including the set, the props, and Pauline [Lawrence] Limón's costumes; Limón's dislike of this work; performing with the José Limón Dance Company; the Company's European tour including the reasons for the audience's lack of enthusiasm for Humphrey's works; Koner's belief that the tour overall had an adverse effect on Humphrey; her ability to create simplicity in art; Jerome Robbins' work Dances at a gathering as embodying this principle [ends abruptly at ca. 3:40 min. into track 12]."
  • "Disc 3, ca. 31 min. [begins abruptly]. Koner continues to speak about Barren sceptre, including her dispute with Limón regarding the score; leaving Limón's company; her thoughts on Limón's company as it exists now, including her views on revival performances; Lucas Hoving, as a performer; Limón's piece Carlota."
  • "Disc 3 (ca. 43 min.). Koner speaks about an element of her technique, point of pulse [Koner looks for copy of her definition]; quotes her definition; her view that this element is what makes her dances unique; outlines her career as a teacher, both in the U.S. and abroad; her work The farewell; Humphrey's relatively limited use of cloth in her work as compared to Koner's frequent use of cloth; her dance Solitary songs; her friendship with John Martin; an additional section of Solitary songs that she choreographed for Jacob's Pillow; compares her choreographic approach to music with that of Humphrey; her view that Humphrey's choreographic approach to music has been misunderstood; Koner's works that have been performed by other companies, including Concertino [in A major] and Cassandra [interruption]; more on Solitary songs; additional works performed by other companies, including Poème and The cantigas; the great liberty of interpretation Humphrey allowed her dancers; Humphrey's concern with humanity, especially as contrasted with postmodern egoism; the difficulty of reconstructing her work."@en
  • "Disc 2, ca. 63 min. [begins abruptly]. Koner speaks about writing; the origins of the epithet "the lone eagle" to describe Limón; more on Humphrey's choreographic guidance to her and to Limón; using Limón's style of movement as a subconscious model for her male choreography; brief discussion of a number of pieces including Limón's work the Visitation; Humphrey's works Ritmo jondo and Ruins and visions; Humphrey's use of motivation in her choreography; Humphrey's work Felipe el loco; Limón's piece There is a time, in particular the score [short gap]; more on There is a time; her style of dancing; Limón's and Humphrey's musicality; Pauline Lawrence and her costumes for Limón's company; Limón's partnering; their duet in Malinche; Humphrey's piece Theater piece, no 2 [brief discussion of a number of works]; Limón and Koner's piece Barren sceptre [ends abruptly]."
  • "Disc 1 (ca. 46 min.). [Begins abruptly. Throughout the interview Pauline Koner consults her press book from time to time to confirm dates, places, etc. She also refers the interviewer on occasion to her book-in-progress, (Solitary song, 1989, Duke University Press). In addition she notes, in context, various factual errors that have appeared in writings about her.] In response to questions from the interviewer, Koner clarifies certain details regarding her work and career; speaks about the meaning of the Russian word dusha, as used in an oft-quoted statement by [Michel] Fokine to describe her dancing; her refusal to dance on pointe; leaving Fokine and studying with Angel Cansino and then Michio Ito; her academic background; dancing for Ito on tour; meeting and beginning to dance with Yeichi Nimura; compares Ito with Nimura; leaving Nimura and performing alone; her work Upheaval, including the influence of Mary Wigman's use of percussion; John Martin's review of her work that appeared in [his 1940 article in The New York Times? under the title] At the fair; her instinctive feel for ethnic dance; [Edwin] Strawbridge and his work Age of steel [Pas d'acier]; her trip to Egypt and Palestine; her solo performance at the Guild Theater in 1931 [ends abruptly]."@en
  • "Disc 8, 06/11/1975 (ca. 39 min.). Pauline Koner continues to speak with Peter Conway about her work Solitary songs; more on her return to solo works and performances; her work The shining dark; the very high level of dancers' technique today including why this sometimes adversely affects performance; her thoughts on everyday movement as dance [short break]; teaching at the North Carolina School of the Arts including her course on the elements of performing; her new work, Solitary songs opus III, the third movement of her work Solitary songs, which she set on her students at the School of the Arts; plans for future professional activities; her choreographic process and music."

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  • "Interview with Pauline Koner"@en
  • "Interview with Pauline Koner"

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