Judith Chazin-Bennahum

Biographic Data

ID2197217
NAMEJudith Chazin-Bennahum
GIVEN NAMESJudith
FAMILY NAMEChazin-Bennahum
SIGNATURECHAZIN-BENNAHUM J
AFFILIATIONSJudith Chazin-Bennahum is a Professor of Theater and Dance at the University of New Mexico and a former ballerina with the Metropolitan Opera Ballet Company when Antony Tudor was Artistic Director. She has also written Dance in the Shadow of the Guillotine and The Ballets of Antony Tudor.
VERIFIEDNo
TOTAL WORKS9
TOTAL CITATIONS2
AUTHOR COUNT9
EDITOR COUNT0
FIRST PUBLICATION YEAR1983
LATEST PUBLICATION YEAR2015
H-INDEX1

  • The Perilous Prelude to Ida Rubinstein’s Perséphone

    Judith Chazin-Bennahum, Judith Chazin‐bennahumARTICLEDance Chronicle2015

    Notes1Charles Joseph, Stravinsky's Ballets (New Haven, CT: Yale University Press, 2011).2Tamara Levitz, ed., Stravinsky and His World (Princeton, NJ: Princeton University Press, 2013).3Keith Lester, “Rubinstein Revisited,” Dance Research, vol. 1, no. 2 (1983): 21–31; Margaret Severn, “Dancing with Bronislava Nijinska and Ida Rubinstein,” Dance Chronicle, vol. 11, no. 3 (1988): 333–64.4Severn, “Dancing,” 359, 363, 364.5Ibid., 359

  • In Memoriam

    George Dorris, Jack Anderson et al.ARTICLEDance Chronicle2015

  • Beyond Ballet in the Ballet d’Action

    Judith Chazin-Bennahum, Judith Chazin‐bennahumARTICLEDance Chronicle2012

  • Unmasking the Body

    Judith Chazin-Bennahum, Judith Chazin‐bennahumARTICLEDance Chronicle2010

  • Jean-Georges Noverre

    Open AccessJudith Chazin-Bennahum, Judith Chazin‐bennahumCHAPTERThe Cambridge Companion to Ballet2007

    Jean-Georges Noverre was born in Paris on 27 April 1727 and died in Saint- Germain-en-Laye on 19 October 1810. He had an abrupt and demanding temperament, made many enemies and stirred up a variety of fierce artistic controversies during his long career. More than any other choreographer before him, he turned ballet into an independent art form and means of expression. Diderot called him "le génie", the one who would save dance, and Voltaire name…

  • A Longing for Perfection

    Judith Chazin-Bennahum, Judith Chazin‐bennahumARTICLEFashion Theory2002Cited by: 1References: 1

    (2002). A Longing for Perfection: Neoclassic Fashion and Ballet. Fashion Theory: Vol. 6, No. 4, pp. 369-386

  • Tributes to Selma Jeanne Cohen

    Open AccessJudith Chazin-Bennahum, Judith Chazin‐bennahum et al.ARTICLEDance Research Journal2000

    In 1953, we sat in a small, harshly lit room in the old High School of Performing Arts building on 46th Street and Broadway, our legs hanging, perched or straggled on chairs in front of us. We were tired from hours of technique and rehearsals, coming straight from the studio in our worn tights and warmers. A small woman with red curls and glasses spoke intensely about Louis XIV's court ballets; she evoked a world of magic, opulence, and beauty. I…

  • Wine, Women and Song. Anacreon's Triple Threat to French Eighteenth-Century Ballet

    Judith Chazin-Bennahum, Judith Chazin‐bennahumARTICLEDance Research1987

    Judith Chazin-Bennahum, Wine, Women and Song. Anacreon's Triple Threat to French Eighteenth-Century Ballet, Dance Research: The Journal of the Society for Dance Research, Vol. 5, No. 1 (Spring, 1987), pp. 55-64

  • Cahusac, Diderot, and Noverre

    Judith Chazin-Bennahum, Judith Chazin‐bennahumARTICLETheatre Journal1983Cited by: 1

    The highly formalized classical drama of the seventeenth century with its three unities advocated the use of one plot around which all scenes and actions revolved. Eighteenth century ballet inherited these ideas and also offered a moral message in the hope of touching or profoundly moving the spectator. The plots attempted to deal authentically with natural feelings in real-life situations, using exaggerated gestures, tableaux vivants, and pantom…