Martha Graham Lectures about Dance and Music
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Disc 1 (ca. 40 min.). [Begins abruptly.] A male speaker [identified only as "Mr. Drapman"] introduces Martha Graham, referring to several of her recent works; Graham speaks (in most cases, briefly) about various aspects of dance, dancers, and music, including Yuriko; the body as the dancer's
… More »Disc 1 (ca. 40 min.). [Begins abruptly.] A male speaker [identified only as "Mr. Drapman"] introduces Martha Graham, referring to several of her recent works; Graham speaks (in most cases, briefly) about various aspects of dance, dancers, and music, including Yuriko; the body as the dancer's instrument; [the dancer's] form as a means of communication; years of training as the key to spontaneity on the stage; the reason dancers' faces tend to be long and thin; her theory regarding the origins of [the ballet movement] the batterie; the ordeal of being an artist; working with composers; sources of ideas for her dances, including Letter to the world and Appalachian spring; the process of creating a new work; her work Deaths and entrances; the universality of certain positions and movements in modern dance and ballet; her work Hérodiade, including the mirror in Isamu Noguchi's set; the elements essential to the dancer's art [ends abruptly but continues directly on the next disc].
Disc 2 (ca. 40 min.). [Begins directly from disc 1. There are several short gaps in this part of the recording.]. Martha Graham continues to speak about the elements essential to the dancer's art, including the ability to listen to oneself; [very briefly] the contraction; the dancers' relationship to the musical accompaniment, including a reference to the music [by William Schuman] for her work Judith. Question and answer session: topics include the reasons Graham neither writes nor wishes to write the music for her dances; instances where the choreography was created prior to the composition of the music; movement, representation, and intelligibility in dance; understanding of movement as essential for composing music for dance; the question of music that because of its tonal nature could limit her choreography; performing a role that represents a specific character; her difficulties in creating Hérodiade; choreographing movements as the composer creates the music. [Graham's concluding remarks; applause.]
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