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Balanchine Variations, by NANCY GOLDNER
PDF Download Balanchine Variations, by NANCY GOLDNER
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The literature on Balanchine is vast, but it is primarily biographical. Balanchine Variations is the first book to concentrate on the ballets themselves, providing critical analysis and detailed descriptions of what the dancers actually do. Beginning with Apollo (1928), Balanchine's first extant work, and ending with one of his last ballets, Ballo della Regina (1978), Nancy Goldner offers detailed insights into more than twenty individual ballets. Based on lectures given across the United States, under the auspices of the Balanchine Foundation, they are intended to illuminate his art. Goldner discusses the history of each ballet, places each in the context of Balanchine's life and sensibility. She also addresses his taste in music and whether his style can be considered particularly American. The ballets Balanchine choreographed for the New York City Ballet are danced by companies around the world, and this innovative book is sure to become an indispensable guide to dancers and spectators alike.
- Sales Rank: #1224988 in Books
- Published on: 2008-05-11
- Original language: English
- Number of items: 1
- Dimensions: 8.97" h x .32" w x 6.27" l, .52 pounds
- Binding: Paperback
- 160 pages
From The New Yorker
This book’s essays on twenty Balanchine ballets are based on pre-performance lectures. That’s bad—the essays are too short—and it’s good, because, for the lay reader, they are perfect Friday-night previews of a Saturday matinée. But this is armchair reading, too. With each ballet, Goldner addresses a different facet of Balanchine’s work: abstraction ("Concerto Barocco"), economy ("Valse Fantaisie"), tension ("Agon"), classical technique ("Ballo della Regina"), pacing (" Theme and Variations"), dreamwork ("A Midsummer Night’s Dream"). In every case, she draws on her long experience, her great common sense—this is the least churchy book ever published on Balanchine—and, rarest of all, her ability to relate choreography to heart and soul without sounding gaseous. The book is modest and, at the same time, utterly self-assured. Anyone who cares about Balanchine should buy it immediately.
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Review
"Immensely - that's how much I enjoyed the walks through twenty-two of Balanchine's ballets on which Nancy Goldner took me! I look forward to strolling with her again whenever I'm about to go see one of her Balanchine ballets." - George Jackson "For the lay audience, this is an excellent introduction to watching Balanchine (and by extension ballet) guided by a thoughtful and articulate guide. For students of dance and balletomanes, it delves into details of craft, history and performance in a manner that elucidates as well as it entertains." - Rose Anne Thom"
About the Author
Nancy Goldner is a former dance critic for the Christian Science Monitor, The Nation, the Philadelphia Inquirer, and Dance News. She is the author of The Story of Coppélia (with Lincoln Kirstein) and The Stravinsky Festival of the New York City Ballet. As a child, she studied at the School of American Ballet, founded by Balanchine, and watched performances by his company, the New York City Ballet, almost from its inception in 1948.
Most helpful customer reviews
1 of 3 people found the following review helpful.
rbgggg
By Danka
If you are a fan of George Balanchine, this is a great book. It gives you insight of his creativity.
15 of 20 people found the following review helpful.
clear choice
By yan ek
This book is written and researched with care and detail. The author has a superb degree of observation and understands the subject matter, as well as being familiar with the person for whom the book written.
18 of 19 people found the following review helpful.
Ex New York City Ballet Dancer
By S. Pillars
Ms. Goldner's response to Balanchine is almost as much a pleasure to read as Balanchine's ballets used to be to watch. She brings forward the intricacies of physical movement musicality and emotional intent inherent in the choreography without missing a single element's importance and depth. She does it succinctly easily and pleasurably, in a kind of way Balanchine himself would have done. He must have been looking over her shoulder.
How she makes me miss dancing these wonderful ballets. For the dancer who knew Balanchine she offers a joyful nostalgia at what in his work is immortal. If you have never seen a Balanchine Ballet read this first. If you go to New York City to see the Company go to the Lincoln Center Performing Arts library as well just so you know what she and I were looking at during the time Balanchine was there.
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