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Editorial Reviews
From Publishers Weekly
In a ballet world rife with eccentricity, choreographer Tudor (1908-1987) shone. This first full-length biography of the creator of such modern classics as Jardin aux Lilas and Dark Elegies commits to print many of the spicy stories about the man born William John Cook that have long circulated in dance studios. Tudor was a Cockney Londoner who transformed himself into the ranking nobility of American ballet. And while his dances examine the emotional lives of "ordinary" people, he often left the psyches of his dancers in shambles. After assisting at the birth of 20th-century British ballet with Marie Rambert, Tudor joined the 1939 inaugural season of what was to become American Ballet Theatre in New York City--a rocky but persistent association. His remarkable and difficult love relationship with dancer Hugh Laing began in 1932 and lasted until his death in Laing's arms. Perlmutter, a dance critic for the Los Angeles Times , provides a serviceable account of Tudor's life, yet her 41 short chapters fail to illuminate the man behind the work. Bitchy ballet-company politics and Tudor's notorious verbal intimidation of his dancers take precedence over serious consideration of the masterworks that endure--precariously.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Given choreographer Tudor's importance in the development of ballet, it is surprising that this is the first biography to be written about him. Born William Cook in cockney London, Tudor was drawn to the ballet late in his youth and found a mentor in Marie Rambert. His intensely dramatic, psychological ballets revolutionized the style of modern ballet, and reflected the internal conflicts of Tudor's difficult personality. With his lifelong companion, dancer Hugh Laing, he emigrated to the United States in 1939, where he became involved with Ballet Theatre (later American Ballet Theatre) then in its infancy. Perlmutter, who is dance critic for the Los Angeles Times , uses a lively vernacular style to bring Tudor fully to life with all his contradictions and eccentricities, as well as his genius. This well-researched biography is an important addition to ballet literature.
- Marcia L. Perry, Berkshire Athenaeum, Pittsfield, Mass.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
In a ballet world rife with eccentricity, choreographer Tudor (1908-1987) shone. This first full-length biography of the creator of such modern classics as Jardin aux Lilas and Dark Elegies commits to print many of the spicy stories about the man born William John Cook that have long circulated in dance studios. Tudor was a Cockney Londoner who transformed himself into the ranking nobility of American ballet. And while his dances examine the emotional lives of "ordinary" people, he often left the psyches of his dancers in shambles. After assisting at the birth of 20th-century British ballet with Marie Rambert, Tudor joined the 1939 inaugural season of what was to become American Ballet Theatre in New York City--a rocky but persistent association. His remarkable and difficult love relationship with dancer Hugh Laing began in 1932 and lasted until his death in Laing's arms. Perlmutter, a dance critic for the Los Angeles Times , provides a serviceable account of Tudor's life, yet her 41 short chapters fail to illuminate the man behind the work. Bitchy ballet-company politics and Tudor's notorious verbal intimidation of his dancers take precedence over serious consideration of the masterworks that endure--precariously.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Given choreographer Tudor's importance in the development of ballet, it is surprising that this is the first biography to be written about him. Born William Cook in cockney London, Tudor was drawn to the ballet late in his youth and found a mentor in Marie Rambert. His intensely dramatic, psychological ballets revolutionized the style of modern ballet, and reflected the internal conflicts of Tudor's difficult personality. With his lifelong companion, dancer Hugh Laing, he emigrated to the United States in 1939, where he became involved with Ballet Theatre (later American Ballet Theatre) then in its infancy. Perlmutter, who is dance critic for the Los Angeles Times , uses a lively vernacular style to bring Tudor fully to life with all his contradictions and eccentricities, as well as his genius. This well-researched biography is an important addition to ballet literature.
- Marcia L. Perry, Berkshire Athenaeum, Pittsfield, Mass.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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Inside This Book
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Key Phrases - Statistically Improbable Phrases (SIPs):
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gala performance, ballet world, new ballet, first ballet Key Phrases - Capitalized Phrases (CAPs): (learn more)
Ballet Theatre, New York, Ballet Club, Antony Tudor, Nora Kaye, Covent Garden, Royal Ballet, Lucia Chase, London Ballet, Hugh Laing, Maude Lloyd, Pillar of Fire, Dark Elegies, Leo Kersley, Zen Buddhism, The Transgressor, Dim Lustre, Agnes de Mille, Sallie Wilson, William Cook, John Martin, United States, Shadow of the Wind, Los Angeles, Muriel Bentley Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
gala performance, ballet world, new ballet, first ballet Key Phrases - Capitalized Phrases (CAPs): (learn more)
Ballet Theatre, New York, Ballet Club, Antony Tudor, Nora Kaye, Covent Garden, Royal Ballet, Lucia Chase, London Ballet, Hugh Laing, Maude Lloyd, Pillar of Fire, Dark Elegies, Leo Kersley, Zen Buddhism, The Transgressor, Dim Lustre, Agnes de Mille, Sallie Wilson, William Cook, John Martin, United States, Shadow of the Wind, Los Angeles, Muriel Bentley Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
2
books
cite this book:
- Dancing Women: Female Bodies on Stage by Sally Banes in Back Matter
- Dance History: An Introduction by Janet Layson on page 272
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