Creative Encounters and Critical Conversations

Click to increase image sizeClick to decrease image size

Notes

Leland Windreich was born in San Francisco in 1926 and immigrated to Canada in the 1960s, where he worked as a librarian until retirement. His work uncovering the stories of several British Columbians who joined the post-Diaghilev Ballets Russes companies was seminal to establishing a past for west-coast Canadian dance. Dance Collection Danse, in Toronto, published Windreich's three books: Dancing for de Basil: Letters to Her Parents from Rosemary Deveson, 1938–1940 (1996), which he edited; Dance Encounters: Leland Windreich Writing on Dance (1998); and June Roper: Ballet Starmaker (1999).

¹Arlene Croce, “Discussing the Undiscussable,” in Writing in the Dark, Dancing in The New Yorker (Gainesville: University Press of Florida, 2000), 708–19.

²Ibid., “Mark Morris Comes to Town,” 458.

³Ibid.

⁴Arts Journal, http://www.artsjournal.com/diacritical/ (accessed February 7, 2014).

⁵Edwin Denby, “Toumanova in Giselle,” in Dance Writings and Poetry, ed. Robert Cornfield (New Haven, Conn.: Yale University Press, 1998), 135. Originally published in the New York Herald Tribune in 1944.

⁶Ibid., “Ballet Theatre,” 61. Originally published in 1942 in Modern Music.

⁷Théophile Gautier, “Fanny Elssler,” in The Dance Anthology, ed. Cobbett Steinberg (New York: New American Library, 1980): 80.

⁸Théophile Gautier, “Opéra: Louise Fitzjames in Le Dieu at la bayadère,” in Gautier on Dance, trans. and ed. Ivor Guest (London: Dance Books Ltd., 1986), 29. First published in La Presse in 1837.

⁹Alastair Macaulay, “Timeless Alchemy, Even When No One is Dancing,” New York Times, November 28, 2010, New York edition.

¹⁰Alastair Macaulay, “Judging the Bodies In Ballet,” New York Times, December 3, 2010, New York edition.

¹¹Brian Parks, “About Deborah Jowitt's Departure from The Village Voice,” Dance Critics Association News (Spring 2011). See this essay, preceded by a statement of Jowitt's, at From the Green Room, Dance/USA's e-journal, http://www2.danceusa.org/ejournal/post.cfm?entry=a-change-at-the-village-voice (accessed February 8, 2014).

¹²James Elkins, What Happened to Art Criticism? (Chicago, Ill.: Prickly Paradigm Press, 2003), 12.

¹³Ibid., 49.

Note that Denby was writing in 1949, with the exclusive use of the pronoun “he” dating the syntax, but not the ideas.

¹⁴Edwin Denby, “Dance Criticism,” in Dance Writings, 536.

¹⁵My four books, all published by Dance Collection Danse, Toronto, are: Theatrical Dance in Vancouver: 1880's–1920's (1998); The Dance Teacher: A Biography of Kay Armstrong (2001); The Man Next Door Dances: The Art of Peter Bingham (2007); and Renegade Bodies: Canadian Dance in the 1970s (2012), an anthology that I co-edited with Allana C. Lindgren.

¹⁶Arlene Croce, Preface, Afterimages (New York: Vintage Books, 1979).

¹⁷Rollo May, The Courage to Create (Toronto: Bantam Books, 1975), 39–40, May's emphasis.