Designing for George Balanchine

Article Abstract:

Designing for the Balanchine production of "A Midsummer Night's Dream" at the Zurich Opera in 1978 was a challenge and an achievement for Peter Harvey, who gives an account of the experience day by day. After a call from Patricia Neary, director of the opera's ballet company, Harvey, who was thrilled, joined the effort, but warily, thinking working with Balanchine almost overwhelming. At the end he felt he had done a "more than serviceable job" under what were at times quite difficult circumstances and had "helped to make a special and beautiful evening more so."

A Midsummer Night's Dream (Ballet)

---

Designing for George Balanchine: diaries of ballet productions

Article Abstract:

The experiences of a scene and costume designer who worked with George Balanchine during 1979 and 1980 are described. The set design for the ballet "Jewels" turned out to be unexpectedly inappropriate. The set design for the ballet "Divertimento No. 15" was not used because the ballet was canceled. The costume designs for "Who Cares?" were successful. Artistic differences, monetary concerns, and close friendships illuminate the descriptions.

Ballet, Theater set design

---

Designing for George Balanchine: diaries of ballet productions, part one: 'Brahms-Schoenberg Quartet;' 'Jewels;' "Chaconne" and "Elegie" on 'Dance in America.'

Article Abstract:

Journals from several New York City Ballet productions in the 1960s and 1970s recount the challenges of designing for a prestigious company. Reproduced set sketches, choice of materials, costumes, and other technical problems are described. George Balanchine impressed many who worked with him as an artist and a genius.

History, New York City Ballet Company

Similar abstracts:

• Abstracts: "Arabian Coffee" in the land of the sweets. Bodies on the line: contact improvisation and techniques of nonviolent protest
• Abstracts: My dancing years, part three. My dancing years, part two. My dancing years, part one
• Abstracts: Packaging Doris Humphrey or a question of form: Nona Schurman shares her thoughts on Doris Humphrey's choreography
• Abstracts: Dance, business, and politics: letters from Mary Wigman to Hanya Holm, 1930-1971. Finding a place for Hanya Holm

This website is not affiliated with document authors or copyright owners. This page is provided for informational purposes only. Unintentional errors are possible.