Disc 2 (ca. 58 min.). Twyla Tharp continues to speak, briefly, with Don McDonagh about performing in Europe; her work Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid; her work Excess, idle, surplus [conversation ceases for ca. 2 min. as Tharp looks through papers]; the performinig of Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid at the Metropolitan Opera in New York City; the potential economic advantage of becoming an independent choreographer; more on Paul Taylor; Jerome Robbins, in particular his work The Goldberg variations [then in progress?]; Robbins' new work [In the night]; each of her dances as the solution to a choreographic problem [short gap]; more on Excess, idle, surplus, in particular as a work requiring a high level of technique; further discussion of individual works as solutions to individual problems including Group activities, After'suite, and Medley; Medley as her first work she viewed as an audience member; choreographing and rehearsing new pieces with her dancers, including examples from One, two, three and Medley; more on Medley and its outdoor setting; her reasons for not using music in her current choreography; answers questions about her early dance training and becoming a choreographer.
"Track 2 (ca. 33 min.): Choreographer Twyla Tharp discusses the problems of being both a choreographer and performer; her training and background; Merce Cunningham; how she develops movement and the influence of ballet in her dances; her ballets Deuce coupe, As time goes by, and the Bix pieces."
"Disc 2 (ca. 12 min.). [Begins abruptly.] Twyla Tharp speaks with Don McDonagh about the concept of returning to basics - "square one" - in dance and in music; her physical condition; other personal matters relating to her sister and to Tharp's son, Jesse."
"Disc 2 (ca. 58 min.). Twyla Tharp continues to speak, briefly, with Don McDonagh about performing in Europe; her work Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid; her work Excess, idle, surplus [conversation ceases for ca. 2 min. as Tharp looks through papers]; the performinig of Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid at the Metropolitan Opera in New York City; the potential economic advantage of becoming an independent choreographer; more on Paul Taylor; Jerome Robbins, in particular his work The Goldberg variations [then in progress?]; Robbins' new work [In the night]; each of her dances as the solution to a choreographic problem [short gap]; more on Excess, idle, surplus, in particular as a work requiring a high level of technique; further discussion of individual works as solutions to individual problems including Group activities, After'suite, and Medley; Medley as her first work she viewed as an audience member; choreographing and rehearsing new pieces with her dancers, including examples from One, two, three and Medley; more on Medley and its outdoor setting; her reasons for not using music in her current choreography; answers questions about her early dance training and becoming a choreographer."@en
"[Begins abruptly. The first ca. 2 min. contains gaps and appears to be out of sequence. It is reiterated in part in the last part of track 12 and in track 13.] Twyla Tharp, Marcia B. Siegel, and at least one other woman speak with Don McDonagh about rehearsing, including the relationship between the time spent rehearsing and the time spent performing; her views on teaching; works by other choreographers that she likes; Merce Cunningham as a teacher; discussion among the speakers of feminism, marriage, and pursuing a career as an artist; male dancers, including their relative conservatism [gap]; the issues raised concerning an individual's appreciation of the arts, including unsophisticated versus sophisticated art and audiences; the works Tharp plans to have her company dance on tour in Paris; her work The one hundreds, including the mechanics of rehearsing a large group of performers; more on Cunningham as a teacher; more on female artists; how she came to choreograph for spaces other than a traditional proscenium stage; possible political implications of dance, in particular using an untraditional stage; discussion of Mauric Béjart, including reasons he is so popular in France; the circumstances of Tharp and her company's performance in City Hall in New York City [part of this last section, which begins in the latter part of track 12, reiterates part of the first ca. 2 min. of the recording, which, as noted above, appears to be out of sequence]."
"[Begins abruptly]. Twyla Tharp speaks with Don McDonagh about personal matters, including her son Jesse; a project [filming her dance All about eggs] she worked on with WGBH Boston ca. 1974; working with WNET/13 Television Lab, including her views on the use of techical effects; filming her work Eight jelly rolls for [the television program] London Weekend Televison; her problems when filming Sue's leg for a segment of the WNET/13 series Dance in America; lessons she has learned from working in television; her financial requirements regarding future choreographic commisions; a workshop she conducted for Andre Gregory's theatre group [Manhattan Theatre Group] and the resulting performance at Town Hall in New York City in 1975; a lecture-demonstration program, which included a work she refers to as "the new piece" [Give and take] at the Brooklyn Academy of Music; reason she abandoned her Chuck Berry work [Ocean's motion?]; George Balanchine's presence at the lecture-demonstration program, including his reaction to "the new piece" and her works Fugue and Eight jelly rolls; reason she no longer deposits tapes of her rehearsals at the Library [New York Public Library for the Performing Arts?]; watching a film of Balanchine's work Stars and stripes at the New York Public Library; her rehearsal tapes of Mikhail Baryshnikov; her experiences working with American Ballet Theatre and with the Joffrey Ballet; her annoyance regarding an article in The New York Times about her hair style."
"Disc 1 (ca. 65 min.). [Begins abruptly.] Twyla Tharp speaks with Don McDonagh about the recent London tour of her company [Twyla Tharp and Dancers] to film certain works for ITV, including Eight jelly rolls, and to perform live; the company's rehearsals in London; the publicity for the tour; Frederick Ashton's favorable opinion of the performance; the films made for ITV; the company's live performances, including the critical reception; the strain on the company of performing for nine consecutive nights; financial aspects of the tour; her plans regarding teaching, in particular the classes she plans to offer; her reasons for not maintaining a repertory; reasons she does not wish at this time to accept commissions for other companies; reasons for and conditions under which she would choreograph for New York City Ballet [short gap]; her current interest in using a Bach composition as a dance score; her feelings about her son, in particular regarding the effect on her work of having a child; her tendency to reject instruction in favor of self-help; her parents' self-reliance; her feelings about how her personality came across in a filmed interview; the relationship of personality and professional success, for example in the cases of George Balanchine and Frederick Ashton; discussion in general terms of Ashton's choreography and Balanchine's choreography; her difficulty in finding compatible musicians; the composers Steve Reich and Terry Reilly. [Ends abruptly.]"
"Twyla Tharp speaks with Don McDonagh about the schedule for her company [Twyla Tharp and Dancers] from February through August, including a television project and performances in London, England; her frustration that she is not currently dancing; filming her works, including her ideas for filming The one-hundreds; performing in Minneapolis; the characteristics of certain dancers in her company, including Rose-Marie Wright, Isabel Garcia-Lorca, Sara Rudner, Kenneth Rinker, and Tom Rawe; certain economic aspects of maintaining a company; her new work In the beginnings; more on her physical condition; the time-consumed in managing the company; the costumes for various works including In the beginnings, Eight jelly rolls, The fugue, and The bix pieces; the lighting designer, Jennifer Tipton."
"Disc 1 (ca. 62 min.). Twyla Tharp speaks with Don McDonagh about dancers she had recently seen in classes at Merce Cunningham's studio; the dancer Stephanie Simmons; dance critics and audiences; Clive Barnes and his retrospective articles; her work Tank dive, including the staging and Jennifer Tipton's lighting; her work Cede Blue Lake ; her work Unprocessed; her work Three page sonata for four, including the reasons she did not like it; her relationship with Paul Taylor and the Paul Taylor Dance Company; her work Stage show created for the 1965 New York World's Fair and performed only once; her work Stride, as filmed; her works without music, including One, two, three and Re-moves; performing in Europe, including the performing of Re-moves in slightly different versions depending on the venue; her work One ways; more on Paul Taylor and dancing his works; more on performing in Europe."@en
"[Begins abruptly.] Twyla Tharp speaks with Don McDonagh about working with the London television network ITV on a project to film her works Eight jelly rolls and The fugue, including the financing of the project; possible performance venues for her company [Twyla Tharp and Dancers] in London, including the London Roundhouse; problems with doing a London tour at this time including the withdrawal of a sponser; more on working with ITV [short gap]; more on finding a performance venue, including the Palladium; single events compared with performing in repertory; discussion of a recent Paul Taylor performance in New York City; Jerome Robbins' work N.Y. export, opus jazz and her thoughts on Robbins; her thoughts on the Joffrey Ballet's performances of her work As time goes by; the Channel 13 project to film her work, in particular the various people involved, including Merrill Brockway and Jennifer Tipton; her touristic activities during her recent trip to London; discussion of the interviewer's daughter and other family matters; more on upcoming professional activities; a recent performance by Merce Cunningham."
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
Dancing in the streets of Paris and London, continued in Stockholm and sometimes Madrid (Choreographic work : Tharp)
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
N.Y. export, opus jazz (Choreographic work : Robbins)
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
This is a placeholder reference for a CreativeWork entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.
This is a placeholder reference for a Organization entity, related to a WorldCat Entity. Over time, these references will be replaced with persistent URIs to VIAF, FAST, WorldCat, and other Linked Data resources.