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Robert Gottlieb’s immense sampling of the dance literature–by far the largest such project ever attempted–is both inclusive, to the extent that inclusivity is possible when dealing with so vast a field, and personal: the result of decades of reading.
It limits itself of material within the experience of today’s general readers, avoiding, for instance, academic historical writing and treatises on technique, its earliest subjects are those nineteenth-century works and choreographers that still resonate with dance lovers today: Giselle, The Sleeping Beauty, Swan Lake; Bournonville and Petipa. And, as Gottlieb writes in his introduction, “The twentieth century focuses to a large extent on the achievements and personalities that dominated it–from Pavlova and Nijinsky and Diaghilev to Isadora Duncan and Martha Graham, from Ashton and Balanchine and Robbins to Merce Cunningham and Paul Taylor and Twyla Tharp, from Fonteyn and Farrell and Gelsey Kirkland (“the Judy Garland of Ballet”) to Nureyev and Baryshnikov and Astaire–as well as the critical and reportorial voices, past and present, that carry the most conviction.”
In structuring his anthology, Gottlieb explains, he has “tried to help the reader along by arranging its two hundred-plus entries into a coherent groups.” Apart from the sections on major personalities and important critics, there are sections devoted to interviews (Tamara Toumanova, Antoinette Sibley, Mark Morris); profiles (Lincoln Kirstein, Bob Fosse, Olga Spessivtseva); teachers; accounts of the birth of important works from Petrouchka to Apollo to Push Comes to Shove; and the movies (from Arlene Croce and Alastair Macauley on Fred Astaire to director Michael Powell on the making of The Red Shoes). Here are the voices of Cecil Beaton and Irene Castle, Ninette de Valois and Bronislava Nijinska, Maya Plisetskaya and Allegra Kent, Serge Lifar and José Limón, Alicia Markova and Natalia Makarova, Ruth St. Denis and Michel Fokine, Susan Sontag and Jean Renoir. Plus a group of obscure, even eccentric extras, including an account of Pavlova going shopping in London and recipes from Tanaquil LeClerq’s cookbook.”
With its huge range of content accompanied by the anthologist’s incisive running commentary, Reading Dance will be a source of pleasure and instruction for anyone who loves dance.
- Sales Rank: #421821 in Books
- Published on: 2008-11-04
- Released on: 2008-11-04
- Original language: English
- Number of items: 1
- Dimensions: 9.52" h x 2.67" w x 6.34" l, 3.90 pounds
- Binding: Hardcover
- 1360 pages
From Publishers Weekly
Former Knopf and New Yorker editor-in-chief Gottlieb offers a wonderfully idiosyncratic collection of dance writings in one massive yet cohesive tome organized into chapters on major choreographers (from Bournonville to Paul Taylor), dancers, teachers and miscellaneous subjects such as "Present at the Creation" (e.g., ballerina Alexandra Danilova on Balanchine's Apollo). There's brilliant and incisive criticism, and artists in their own voices, such as winsome and witty ballerina Allegra Kent on her first performance with the New York City Ballet. There are critical looks at dancers, such as Harris Green's pointed take on Gelsey Kirkland as "The Judy Garland of Ballet." Then there are the ephemera: Fred Astaire opining on Ginger Rogers's dresses, Walt Disney's animated dances and recipes from Tanaquil LeClercq's The Ballet Cook Book. Although Gottlieb admits that his collection is "unbalanced and uneven," the paucity of writing on black dancers and choreographers--three pages on Alvin Ailey's "crude but powerful style" and an obituary of hoofer Honi Coles--is egregious. Nonetheless, it's an important collection and a treasure chest for dance aficionados. (Nov. 4)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
*Starred Review* Formerly editor in chief of Knopf and the New Yorker, Gottlieb is a consummate bookman and anthologist par excellence. This is his third major compendium, following Reading Jazz (1996) and Reading Lyrics (2000), and the largest yet. Gottlieb is, in addition to all else, a dance critic and author of George Balanchine: The Ballet Maker (2004). Balanchine figures prominently here as one of the pantheon of dancers and choreographers Gottlieb organizes this capacious collection around, among them Frederick Ashton, Fred Astaire, Merce Cunningham, Mikhail Baryshnikov, Martha Graham, and Twyla Tharp. Seminal dance writers are also present, including Joan Acocella, Arlene Croce, and Edwin Denby. In terms of dance history, this extraordinary assemblage is a must-have. But this gathering is also guaranteed to light up the brain circuitry of any reader who loves superlative essays. While covering all the important subjects from multiple perspectives, Gottlieb has selected writings of exceptional energy and forthright expression, from Janet Flanner on Isadora Duncan to Lincoln Kirstein on bad ballet and Jill Johnston on Baryshnikov. Perhaps the sheer physicality and eroticism of dance inspires its commentators to write with unusual verve. Gottlieb’s great book of dance dances. --Donna Seaman
About the Author
Robert Gottlieb has been editor in chief of Simon & Schuster, Alfred A. Knopf, and The New Yorker. He has edited books by such dance luminaries as Margot Fonteyn, Mikhail Baryshnikov, Natalia Makarova, and Lincoln Kirstein. He served for many years on the board of directors of New York City Ballet, working closely with Kirstein and Balanchine, and is the author of George Balanchine: The Ballet Maker. He has been for a decade the dance critic of the New York Observer, and writes frequently for The New York Review of Books and The New Yorker. His previously anthology, Reading Jazz, was acclaimed as a unique contribution to the jazz literature, and his Reading Lyrics (edited with Robert Kimball) has become a treasured resource for lovers of American popular song.
Most helpful customer reviews
8 of 8 people found the following review helpful.
An essential possession for the ballet lover
By Robert B. Campbell
I learned of this book through Mr. Gottlieb's appearance on the Charlie Rose show and I odered my copy the next day, although I rarely buy new books. Both informative and highly entertaining, the book is an absolute treasure. As a lover of classical ballet I would have preferred more entries on that subject and fewer on modern/contemporary dance, but that is a minor quibble. For anyone who loves dance, especially ballet, my advice is simple: get a copy of this book as soon as possible.
4 of 4 people found the following review helpful.
a delightful and thought-provoking compilation
By raindrops
I first saw this book at the local library. Due to its thickness and weight, I was going to just look up the articles on my favorite dancer, read them on the spot and not even bother checking the book out and lugging it home with me. However, the articles were so captivating that I ended up checking the book out so that I could take my time in savoring them. Then after another day of reading, some of the pieces were so special that I started to wish I could own a copy. So within a matter of two days, I went from not wanting to be even temporarily burdened by the book's weight to ordering it on Amazon.
The quality of the collection continues to delight me. Whenever I can squeeze 20 min at the end of a busy day, I would randomly flip to a page and immediately find something fascinating. It has introduces me to many more great dancers, whose personalities come jumping out of the pages through their interviews. Their perspectives on dancing have given me much food for thought and expanded my horizon many times over. Not all personalities come across as flattering, especially when they are presented so close to each other in the same volume. That in itself is interesting in association with their dancing styles.
This book has given me so much enjoyment that I can't remember the last book that made me feel this way.
6 of 7 people found the following review helpful.
Scarey to the Max
By Rick polland
This review will be short as I'm not a dancer. When I read about this book, I thought it would be a wonderful compendium to add to my daughter's collection. She's been dancing since she was 5 and loves dance. The book is expensive and I thought twice about obtaining it but I took a chance.
When "Reading Dance" arrived I was shocked to find what looked like an exhaustive text on dance virtually devoid of any photos.
My instruction to my daughter was simple. "Look her over and see if this book picques your interest - otherwise..."
When she had time, I would see her looking at the book seemingly captivated so I took a peek and found that I too was enjoying articles from people that everyone in dance would know but that I'd never heard of.
Alghough I think this book is a special find for a dancer, it also offers insights for those of us who know virtually nothing about dance.
Wonderfully worth it!
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