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Interview With Karole Armitage

Speaking of Dancing Oral History Project
Armitage, Karole (Spoken-word CD - 2011 )
Interview With Karole Armitage
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Disc 1 (ca. 48 min.) Karole Armitage speaks with Deborah Jowitt about her early dance training in Kansas and Colorado, her first exposure to George Balanchine's choreography, and her time as a dancer with the Grand Théâtre de Genève, during which she worked with Balanchine; her return to New York City; her initial encounter with Merce Cunningham; her first experiences choreographing her own works. She discusses how audiences interpret dance movement in the absence of narrative context, and how chance procedures influence her choreography; her works Drastic classicism and Watteau duets; the controversy surrounding her blending of ballet and modern dance; and how she came to be labeled a "punk ballerina." Armitage then speaks about her time as artistic director of Maggiodanza in Florence, and the cultural and political adjustments she had to make in that environment; her time with Ballet de Lorraine in Nancy, France; her return to New York; the founding of her company, Armitage Gone! Dance; and her artistic goals for the company. She discusses her piece Time is the echo of an axe within a wood; the importance of nature in her work; her inspirations; her collaboration with the musical group Burkina Electric; and the influence that individual dancers in her company, including Leonides Arpon and Megumi Eda, have on her work. Disc 2 (ca. 43 min.) Karole Armitage continues to speak with Deborah Jowitt about revivals of her early works for her current company; the financial challenges of running a company; her choreographies for Madonna and Michael Jackson; her experiences working with the National Ballet of Cuba and the Bolshoi Ballet. Armitage discusses how dancers interpret her work; her working process and the relationship of her choreography to music and spoken text; what her ideal working situation would be; her thoughts on the challenges faced by the dance field, and the future of dance.
Authors: Armitage, Karole
Statement of Responsibility: interviewer Deborah Jowitt
Title: Interview with Karole Armitage
Speaking of Dancing Oral History Project
[sound recording]
Publisher: 2011
Characteristics: 2 sound discs (ca. 91 min.) : digital ; 4 3/4 in. + transcript (48 leaves)
Notes: Interview with Karole Armitage conducted by Deborah Jowitt on Sept. 24, 2011 at The New York Public Library for the Performing Arts in New York City, as part of the Speaking of Dancing Oral History Project
Summary: Disc 1 (ca. 48 min.) Karole Armitage speaks with Deborah Jowitt about her early dance training in Kansas and Colorado, her first exposure to George Balanchine's choreography, and her time as a dancer with the Grand Théâtre de Genève, during which she worked with Balanchine; her return to New York City; her initial encounter with Merce Cunningham; her first experiences choreographing her own works. She discusses how audiences interpret dance movement in the absence of narrative context, and how chance procedures influence her choreography; her works Drastic classicism and Watteau duets; the controversy surrounding her blending of ballet and modern dance; and how she came to be labeled a "punk ballerina." Armitage then speaks about her time as artistic director of Maggiodanza in Florence, and the cultural and political adjustments she had to make in that environment; her time with Ballet de Lorraine in Nancy, France; her return to New York; the founding of her company, Armitage Gone! Dance; and her artistic goals for the company. She discusses her piece Time is the echo of an axe within a wood; the importance of nature in her work; her inspirations; her collaboration with the musical group Burkina Electric; and the influence that individual dancers in her company, including Leonides Arpon and Megumi Eda, have on her work.
Disc 2 (ca. 43 min.) Karole Armitage continues to speak with Deborah Jowitt about revivals of her early works for her current company; the financial challenges of running a company; her choreographies for Madonna and Michael Jackson; her experiences working with the National Ballet of Cuba and the Bolshoi Ballet. Armitage discusses how dancers interpret her work; her working process and the relationship of her choreography to music and spoken text; what her ideal working situation would be; her thoughts on the challenges faced by the dance field, and the future of dance.
Funding Information: This oral history interview was funded by a gift from Anne H. Bass
Local Note: Archive original: 1 sound file (ca. 91 min.); digital, WAV file, 96 kHz, 24 bit; recorded in digital format as the interview was conducted, and stored on GRAID 4 TB external hard drive; located at the Library for the Performing Arts as of 2011
Oral History Archive. Oral History Project
Subject Headings: Armitage, Karole Balanchine, George Cunningham, Merce Arpon, Leonides D Eda, Megumi Madonna, 1958- Jackson, Michael, 1958-2009 Grand Théâtre de Genève Maggiodanza Ballet national de Nancy et de Lorraine Armitage Gone! Dance Burkina Electric (Musical group) Ballet Nacional de Cuba Drastic classicism (Choreographic work : Armitage) Watteau duets (Choreographic work : Armitage) Choreography Modern dance Dance companies Dance Economic aspects Audiotapes Armitage, K
Topical Term: Choreography
Modern dance
Dance companies
Dance
Audiotapes
Additional Contributors: Jowitt, Deborah
Research Call Number: *MGZTL 4-2990
*MGZMT 3-2990
MARC Display»

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