George Dorris
Biographic Data
| ID | 4526725 |
|---|---|
| NAME | George Dorris |
| GIVEN NAMES | George |
| FAMILY NAME | Dorris |
| SIGNATURE | DORRIS G |
| VERIFIED | No |
| TOTAL WORKS | 71 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 71 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1965 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Finding Les Ballets Suédois
Hoping to emulate the success of Diaghilev’s Ballets Russes (active 1909–1929), a number of ballet companies were formed in Europe after the First World War. Some were organized around a star like
Dancing in the Dark with Fred, George, and Gene
There has been dance on film since the earliest days when a sneeze, a kiss, or a girl kicking her skirt and turning were sufficient to draw viewers. D. W. Griffith’s young heroines often engaged in
The Return of Dance Index
Between 1942 and 1948, Dance Index was a pioneer journal dealing with many aspects of dance in scholarly fashion. Now, the Eakins Press Foundation and Ballet Society have put all fifty-six issues online. They will also publish two new issues a year, starting with Edward M. Gómez’s “When Noguchi Took the Stage,” which deals with the sculptor’s work designing for dance
In Memoriam
The Metropolitan Opera Ballet, Fresh Starts
The popular Rosina Galli assumed full charge of dance at the Metropolitan Opera in this period, serving as première danseuse and ballet mistress, and overseeing the ballet school. She appeared in many ballets herself and also continued the practice of training American dancers at the Met. Similarly, Giulio Gatti-Casazza, the Met's managing director, sought to present operas by American composers while also producing a range of European works. The…
The Metropolitan Opera Ballet, Fresh Starts
The first half of the twentieth century saw vast changes in American ballet, most of which were reflected at the Metropolitan Opera. The major transformation in the history of the Met Opera Ballet came in 1909 with the opening of its own school, which closed its doors only in 1968. The teaching was primarily in the Italian style and it created dancers of merit who performed at the Met and beyond. The Met Opera Ballet produced occasional stand-alo…
The Metropolitan Opera Ballet, Fresh Starts
The influence of the Ballets Russes’ second American tour (1916– 17) was felt at the Metropolitan Opera House, contributing to the increasing presence of dance in the Met's productions and the popularity of ballerina Rosina Galli. By 1921 Galli was firmly established not only as ballerina, but also as ballet mistress, and she was supported by a corps de ballet of American dancers trained at the company's own school. Several of these Americans eme…
The Many Worlds of Rolf de Maré
Dance and the New York Opera War, 1906–1912
Although the Metropolitan Opera had had a ballet company since it opened in 1883, apart from opera ballets it had staged only occasional dance performances until, in 1906, the company faced intense competition from Oscar Hammerstein's Manhattan Opera, resulting in large deficits. As part of this opera war the Met expanded its offerings and in 1909 opened a ballet school. It also imported Loie Fuller's company and then Anna Pavlova and Mikhail Mor…
The Fascinating Life of Frederic Franklin
227 pp. Illustrated. Jefferson, North Carolina: McFarland, 2007. $45 paper. ISBN 978-0-784-3051-2. At a performance of Swan Lake a few years ago, I was told on good authority, a Russian ballet dire
Ivor guest at the Opéra
The Paris Opera Ballet By Ivor Guest. 149 pages. Illustrated. Alton, Hampshire: Dance Books, 2006. £18, $39.95. ISBN 1-85273-109-5. After the Eiffel Tower, no edifice is more evocative of Paris tha
Some Thoughts on Editing Dance Chronicle
In Memoriam—Selma Jeanne Cohen (1920–2005)
What do I remember most about Selma Jeanne? Her boundless curiosity and driveshe was never still, personally or intellectually-and also her gift for friendship. It is always useful to remember that her discipline and drive came from a rigorous training with the Aristotelians at the University of Chicago, which fostered competition. But Chicago surely turned out at least as many pedants as it did seekers-and that was what Selma Jeanne was. Why els…
Ave Atque Vale
Opening Remarks
Henze, Ashton, and Ondine
Ondine: Journey of a Ballet. By Hans Werner Henze, with an introduction by Alfred Andersch, translated by Daniel Pashley. 68 pp. Illustrated. Alton, Hampshire: Dance Books, 2003. $19.95. ISBN 1-852
The Polish Ballet at the New York World's Fair, June 1939
In the spring of 1939, as the world moved inexorably toward war and the United States was finally emerging from the Great Depression of the 1930s, New York City opened a World's Fair to celebrate t
Stravinsky and Mr. B
As two of the most remarkable and highly prolific artists of the twentieth century, Stravinsky and Balanchine have already become the subjects of many books and even more articles, a number of which have discussed the fruitful relationship that inspired the composer to write some of his best works and the choreographer to make some of his finest ballets. Between Le Chant du Rossignol in 1925 (his first important work for Diaghilev) and the five b…
Dancing at London's Pantheon, 1790 and After
Italian Opera in Late Eighteenth‐Century London, Volume 2: The Pantheon Opera and Its Aftermath, 1789–1795 By Judith Milhous, Gabriella Dideriksen, and Robert D. Hume. xxviii + 883 pp. Illustrated
The Age of Gardel
With Ballet Under Napoleon, Ivor Guest has completed his remarkable history of the Paris Opera Ballet from 1770 to 1870, the years when it was the single most important theatre for dance anywhere.*While other theatres had brilliant periods, the Opera and its school provided ballets that were imitated everywhere as well as choreographers and dancers who spread throughout the old world and the new, from St. Petersburg, Stockholm, and Copenhagen to …
Ivor Guest—an Appreciation
Ingrid Brainard
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Tributes to Selma Jeanne Cohen
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…
Diaghilev and His World
The Ballets Russes and Its World Edited by Lynn Garafola and Nancy Van Norman Baer. x + 420 pp. Illustrated. New Haven: Yale University Press, 1999. $45. ISBN 0–300–06176–5
Two Balletic sensations
Excelsior: Documenti i Saggi/Documents and Essays Edited by Flavia Pappacena. Illustrated. 345 pp. Rome: Di Giacomo editore, 1998. L. 65,000, paper. ISSN 1125–6230. Also includes a fourteen‐minute video. Robert le Diable: The Ballet of the Nuns: Ballet by Filippo Taglioni, Notated by August Bournonville, Music by Giacomo Meyerbeer Reconstructed by Knud Arne Jürgensen, Labonatation and Performance Notes by Ann Hutchinson Guest. Illustrated. 218 pp…
Jean Borlin as dancer and choreographer
From 1920 to 1925, the company that provided the greatest challenge to the Diaghilev Ballets Russes was another exotic visitor that made Paris its home, Rolf de Mare's Ballets Suedois. Drawing on a heady mix of leading Swedish and Parisian painters, musicians, and writers, its mixture of avant-garde ballets, works using Swedish folk idioms, and others in more conventional modes delighted audiences and often critics. The wealthy de Mare leased the…
Music for the Ballets of John Weaver
FOR STUDYING THE DANCE-DRAMAS of John Weaver, we have the three libretti he published 1 and his comments elsewhere on his work, but one missing element has been the music to which they were danced. Weaver tells us that the music for The Loves of Mars and Venus was by Henry Symonds, who composed the Symphonies, and Mr. Firbank (Charles Fairbank), who wrote the airs for the dancing part.2 But the score wasn't published, and-like most of the theatre…
Looking at dance history
Diaghilev: Costumes and Designs for the Ballets Russes. New York: Metropolitan Museum of Art. November 24, 1978‐June 30, 1979. Fleeting Gestures: Treasures of Dance Photography. New York: International Center of Photography. November 7, 1978‐January 28, 1979. Alternative Gestures: Another Look at Dance Photography. Long Island City, N. Y.: Project Studio One. December 3, 1978‐January 21, 1979
Paolo Rolli and the First Italian Translation of Paradise Lost
Dall'Arcadia all'Europa e ritorno
To the reader
Looking at dance history
Diaghilev: Costumes and Designs for the Ballets Russes. New York: Metropolitan Museum of Art. November 24, 1978‐June 30, 1979. Fleeting Gestures: Treasures of Dance Photography. New York: International Center of Photography. November 7, 1978‐January 28, 1979. Alternative Gestures: Another Look at Dance Photography. Long Island City, N. Y.: Project Studio One. December 3, 1978‐January 21, 1979
Music on records
TWO REVOLUTIONS IN MUSICAL TASTE have been taking place in the last thirty years. One has been bringing modern music to a much larger audience than before-the process by which art that was once considered avant-garde is assimilated, as the work of Ives, the second Viennese school, Stravinsky and Messiaen have come to be taken for granted. The other revolution has been going in the other direction-making available to growing audiences the treasure…
The mystery of music
Prokofiev by Prokofiev. Sergei Prokofiev. Translated by Guy Daniels. Illustrated, 376 pp. Garden City, N.Y.: Doubleday, 1979. $14.00. Stravinsky in Pictures and Documents. By Vera Stravinsky and Robert Craft. Illustrated, 688 pp. New York: Simon & Schuster. $35.00. My Friends and Myself. By Francis Poulenc and Stephane Audel. Translated by James Harding. 152 pp. London: Dennis Dobson. £4.95; $9.95
Music for the Ballets of John Weaver
FOR STUDYING THE DANCE-DRAMAS of John Weaver, we have the three libretti he published 1 and his comments elsewhere on his work, but one missing element has been the music to which they were danced. Weaver tells us that the music for The Loves of Mars and Venus was by Henry Symonds, who composed the Symphonies, and Mr. Firbank (Charles Fairbank), who wrote the airs for the dancing part.2 But the score wasn't published, and-like most of the theatre…
Music on records
What sort of music is required for a great ballet? Is it enough that it inspire great choreography, as Minkus and Drigo did for Petipa, or must it be strong enough to survive on its own, like Tchaikovsky's three ballets, Delibes' two-and-a-half, and a number of twentieth century works? Agnes de Mille scorns Adam (Have you ever listened to Giselle, she asks incredulously as part of her standard lecture-demonstration), while praising her colleagues…
A second look at Stravinsky
Stravinsky: The Composer and His Works, Second Edition By Eric Walter White. 656 pp. Berkeley: University of California Press, 1979. $28.50
A look at the DaCapo reprints in dance
Three from dance horizons
Giselle & Albrecht: American Ballet Theatre's Romantic Lovers. Performance photographs by Fred Fehl, text by Doris Hering. 191pp. Brooklyn, N.Y.: Dance Horizons, 1981. $30.00 The Steadfast Tin Soldier. Photographs by Steven Caras, text by Andrew Mark Wentink. 77 pp. Brooklyn, N.Y.: Dance Horizons, 1981. $12.95. The One and Only: The Ballet Russe de Monte Carlo. By Jack Anderson. Illustrated, 333 pp. Brooklyn, N.Y.: Dance Horizons, 1981. $25.00
Rescued books
Ballet in America: The Emergence of an American Art. By George Amberg. Illustrated. 244 pp. New York: Da Capo Press, 1983. $35.00. The New York City Ballet: The First Twenty Years. By Anatole Chujoy. Preface by Edward Villella. Illustrated. 397 pp. New York: Da Capo Press, 1982. $29.50. French Opera: Its Development to the Revolution. By Norman Demuth. Illustrated. 337 pp. New York: Da Capo Press, 1978. $32.50
The collected works of George Balanchine
Choreography by George Balanchine: A Catalog of Works Project Directors: Leslie George Katz, Nancy Lassalle, Harvey Simmonds. 407 pp. New York: Eakins Press Foundation, 1983. $75.00
Tracking the American musical
American Song: The Complete Musical Theatre Companion. By Ken Bloom. 2 volumes. 824 pp., 616 pp. New York: Facts on File, 1985. $95.00. The Oxford Companion to American Theatre. By Gerald Bordman. 740 pp. New York: Oxford University Press, 1984. $49.95
Debussy and Stravinsky
Debussy and the Theatre. By Robert Orledge. Illustrated. 383 pp. Cambridge: Cambridge University Press, 1982. $49.50. Stravinsky: Selected Correspondence. Vols. I and II. Edited and with commentaries by Robert Craft. 471 pp., 544 pp. New York: Knopf, 1982, 1984. $27.50, $30.00. Stravinsky on Stage. By Alexander Schouvaloff and Victor Borovsky. Illustrated. 226 pp. London: Stainer'& Bell, 1982. £9.95
Tchaikovsky and the ballet
Tchaikovsky's Ballets: Swan Lake, Sleeping Beauty, Nutcracker By Roland John Wiley. Illustrated. 429 pp. Oxford: Clarendon Press, 1985. $39.95. Balanchine's Tchaikovsky: Interviews with George Balanchine By Solomon Volkov. Translated from the Russian by Antonina W. Bouis. Illustrated. 253 pp. New York: Simon and Schuster, 1985. $19.95
Weaver and Purcell
The Life and Works of John Weaver: An Account of His Life, Writings and Theatrical Productions, with an Annotated Reprint of His Complete Publications. By Richard Ralph. Illustrated. 1,075 pp. Brooklyn, N.Y.: Dance Horizons, 1985. $125.00. Henry Purcell and the London Stage. By Curtis A. Price. Illustrated. 380 pp. Cambridge: Cambridge University Press, 1984. $52.50
Copland and Walton
Copland: 1900 Through 1942. By Aaron Copland and Vivian Perlis. Illustrated. 402 pp. New York: St. Martin's/Marek, 1984. $24.95. William Walton: His Life and Music. By Neil Tierney. Illustrated. 303 pp. London: Robert Hale, 1984. £15.95; Dover, N.H.: Longwood Press, 1985. $22.50
L'Opéra and its history
The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. 2 vols. By Spire Pitou. xii+364 pap., xviii+619 pp. Westport, Conn.: Greenwood Press, 1983, 1985. $45.00, $75.00
Looking at pictures
L'Après‐midi d'un Faune: Vaslav Nijinsky 1912. Thirty‐three photographs by Baron Adolf de Meyer with an essay by Jennifer Dunning and contributions by Richard Buckle and Ann Hutchinson Guest. Illustrated. 130 pp. Brooklyn: Dance Horizons, 1983. $29.95. Ballet: George Platt Lynes. Photographs by George Platt Lynes with essays by George Balanchine and George Platt Lynes. Illustrated. 124 pp. Pasadena, Calif.: Twelvetrees Press, 1985. $45.00. Stars …
Angna rnters
Uncommon Eloquence: A Biography of Angna Enters, Writer, Dance‐Mime, Artist. By Dorothy Mandel. Illustrated. 366 pp. Denver: Arden Press, 1986. $24.50
Seeing the Ballet de Cour
The Ballet de Cour in the 17th Century/Le Ballet de cour au XVIIe siècle. By Marie‐Françoise Christout. Trans. Frank Dobbins. Illustrated. 211pp. Geneva: Editions Minkoff, 1987. 100 Swiss Francs
The archeology of the American musical
Catalogue of the American Musical: Musicals of Irving Berlin, George & Ira Gershwin, Richard Rodgers & Lorenz Hart By Tommy Krasker and Robert Kimball. 442 pp. Washington, D.C.: National Institute for Opera and Musical Theater, 1988. Hardcover $60, paper $35. (Available from N.I.O.M.T., John F. Kennedy Center, Washington, D.C., 20566; add $2.50 for shipping.)
The choreography of Robert Joffrey
In the 1950s Robert Joffrey was a prolific choreographer, considered by many critics to be one of the most promising of his generation. As the needs of running his company took an increasing amount of time, he choreographed less and less-although never giving it up entirely-until each new work became a special event. The first concert of his work had been offered in Seattle in the spring of 1948, a kind of graduation requirement made by his mento…
The choreography of Robert Joffrey
Art (70 works) · Art history (62 works) · Visual arts (49 works) · Dance (38 works) · Diversity and Impact of Dance (38 works) · Musicology and Musical Analysis (31 works) · Theater, Performance, and Music History (25 works) · Ballet (22 works) · Humanities (21 works) · Performance art (19 works)