Deborah Jowitt
Biographic Data
| ID | 3586487 |
|---|---|
| NAME | Deborah Jowitt |
| GIVEN NAMES | Deborah |
| FAMILY NAME | Jowitt |
| SIGNATURE | JOWITT D |
| AFFILIATIONS | New York University |
| VERIFIED | No |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 15 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1978 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 1 |
Tale of Coincidences, Choices, and Fences to Be Jumped
I came of age in dance in the 1950s, knowing little of the history of my chosen field. Nor had I read much dance criticism. As a performer in various modern dance companies around New York City, as
Clytemnestra and the Dance Dramas of Martha Graham
Yvonne Rainer , Feelings are Facts
Deborah Jowitt and Marcia Siegel
Marcia B. Siegel: Deborah, for those of you who don't know, is working on a biography of Jerome Robbins under rather extraordinary circumstances. Tell us how this came about for Deborah Jowitt: Well, I got a phone call from a close friend of Robbins who is also the partner of one of the literary executors of the estate saying, Do you have any idea how much Jerry liked your writing? And I said, No.... Although I did know that we got along fairly w…
IV. The Critical Burden of History
Choreographing History
Getting to know Ashton
Secret Muses: The Life of Frederick Ashton By Julie Kavanagh. 647 pages. Illustrated. New York: Pantheon Books, 1997. $35. ISBN 0–679–44269–3
Form as the Image of Human Perfectability and Natural Order
In 1954, when I was dancing in Harriette Ann Gray's company, Doris Humphrey (with whom Harriette had danced in the 1930s) invited us to see a run-through of the reconstruction of With My Red Fires she had staged with Juilliard students. Karen Kanner was an astounding six-foot-tall Matriarch. I remember sitting in a cramped studio of International House feeling not as if I were watching dance, but as if I were surrounded by forces on the verge of …
Ages of the Avant-Garde
Bonnie Marranca, Meredith Monk, Richard Foreman, Carolee Schneemann, Maria Irene Fornes, Deborah Jowitt, Deborah Hay, Rachel Rosenthal, Jill Johnston, Kenneth Bernard, Yvonne Rainer, Jean-Claude van Itallie, Dick Higgins, Richard Kostelanetz, Judith Malina, Joyce Aaron, Herbert Blau, Anna Halprin, Barbara Hammer, Rosalyn Drexler, Rochelle Owens, Allan Kaprow, Ages of the Avant-Garde, Performing Arts Journal, Vol. 16, No. 1, Bodies of Work (Jan., …
Dance
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Jowitt Replies
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What the Critics Say about Tanztheater
Burt Supree, Deborah Jowitt, Nancy Goldner, Anna Kisselgoff, Arlene Croce, Marcia B. Siegel, George Jackson, Sally Banes, Janice Ross, Mindy Aloff, Martin Bernheimer, Alan M. Kriegsman, What the Critics Say about Tanztheater, The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 80-84
Images of Isadora
It is far back, deep down the centuries that one's spirit passes when Isadora Duncan dances; back to the very morning of the world, when the greatness of soul found free expression in the body, when the rhythm of motion corresponded with the rhythm of sound, when the movements of the human body were one with the wind and the sea, when the gestures of a woman's arm was as the unfolding of a rose petal, the pressure of her foot upon the sod as the …
Dana Reitz
Improvisation has always had a shaky reputation in the dance field. All too often, it's been shown up as a license for playing around, a grand and ultimately disturbing notion of freedom. Some dancers never get beyond reproducing movements they've learned, simply jumbled around in a satisfyingly lawless way. During the 1950s most dancers and choreographers of any consequence associated improvisation with the windy impressionism they had encounter…
Dance Beat
What the Critics Say about Tanztheater
Burt Supree, Deborah Jowitt, Nancy Goldner, Anna Kisselgoff, Arlene Croce, Marcia B. Siegel, George Jackson, Sally Banes, Janice Ross, Mindy Aloff, Martin Bernheimer, Alan M. Kriegsman, What the Critics Say about Tanztheater, The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 80-84
Dance Beat
Dana Reitz
Improvisation has always had a shaky reputation in the dance field. All too often, it's been shown up as a license for playing around, a grand and ultimately disturbing notion of freedom. Some dancers never get beyond reproducing movements they've learned, simply jumbled around in a satisfyingly lawless way. During the 1950s most dancers and choreographers of any consequence associated improvisation with the windy impressionism they had encounter…
Images of Isadora
It is far back, deep down the centuries that one's spirit passes when Isadora Duncan dances; back to the very morning of the world, when the greatness of soul found free expression in the body, when the rhythm of motion corresponded with the rhythm of sound, when the movements of the human body were one with the wind and the sea, when the gestures of a woman's arm was as the unfolding of a rose petal, the pressure of her foot upon the sod as the …
What the Critics Say about Tanztheater
Burt Supree, Deborah Jowitt, Nancy Goldner, Anna Kisselgoff, Arlene Croce, Marcia B. Siegel, George Jackson, Sally Banes, Janice Ross, Mindy Aloff, Martin Bernheimer, Alan M. Kriegsman, What the Critics Say about Tanztheater, The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 80-84
Jowitt Replies
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the 'Save PDF' action button
Dance
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Ages of the Avant-Garde
Bonnie Marranca, Meredith Monk, Richard Foreman, Carolee Schneemann, Maria Irene Fornes, Deborah Jowitt, Deborah Hay, Rachel Rosenthal, Jill Johnston, Kenneth Bernard, Yvonne Rainer, Jean-Claude van Itallie, Dick Higgins, Richard Kostelanetz, Judith Malina, Joyce Aaron, Herbert Blau, Anna Halprin, Barbara Hammer, Rosalyn Drexler, Rochelle Owens, Allan Kaprow, Ages of the Avant-Garde, Performing Arts Journal, Vol. 16, No. 1, Bodies of Work (Jan., …
Form as the Image of Human Perfectability and Natural Order
In 1954, when I was dancing in Harriette Ann Gray's company, Doris Humphrey (with whom Harriette had danced in the 1930s) invited us to see a run-through of the reconstruction of With My Red Fires she had staged with Juilliard students. Karen Kanner was an astounding six-foot-tall Matriarch. I remember sitting in a cramped studio of International House feeling not as if I were watching dance, but as if I were surrounded by forces on the verge of …
Choreographing History
Getting to know Ashton
Secret Muses: The Life of Frederick Ashton By Julie Kavanagh. 647 pages. Illustrated. New York: Pantheon Books, 1997. $35. ISBN 0–679–44269–3
IV. The Critical Burden of History
Deborah Jowitt and Marcia Siegel
Marcia B. Siegel: Deborah, for those of you who don't know, is working on a biography of Jerome Robbins under rather extraordinary circumstances. Tell us how this came about for Deborah Jowitt: Well, I got a phone call from a close friend of Robbins who is also the partner of one of the literary executors of the estate saying, Do you have any idea how much Jerry liked your writing? And I said, No.... Although I did know that we got along fairly w…
Yvonne Rainer , Feelings are Facts
Clytemnestra and the Dance Dramas of Martha Graham
Tale of Coincidences, Choices, and Fences to Be Jumped
I came of age in dance in the 1950s, knowing little of the history of my chosen field. Nor had I read much dance criticism. As a performer in various modern dance companies around New York City, as
Art (13 works) · Art history (8 works) · Diversity and Impact of Dance (8 works) · Dance (5 works) · Visual arts (5 works) · Computer Science (4 works) · Sociology (4 works) · History (3 works) · Mathematics (3 works) · Musicology and Musical Analysis (3 works)