Research Catalog

Interview with Judy Kinberg.

Title: Interview with Judy Kinberg. May 7, 9, and 14, 2014.
Author: Kinberg, Judy
Publication: 2014

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Status	Vol/Date	Format	Access	Call Number	Item Location
Request Appointment Not available - Please for assistance.	disc 6	Audio	Permit needed	*MGZTL 4-3033 disc 6	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	disc 5	Audio	Permit needed	*MGZTL 4-3033 disc 5	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	disc 4	Audio	Permit needed	*MGZTL 4-3033 disc 4	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	disc 3	Audio	Permit needed	*MGZTL 4-3033 disc 3	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	disc 2	Audio	Permit needed	*MGZTL 4-3033 disc 2	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	disc 1	Audio	Permit needed	*MGZTL 4-3033 disc 1	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	Part 3	Audio	Permit needed	*MGZMT 3-3033 Part 3	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	Part 2	Audio	Permit needed	*MGZMT 3-3033 Part 2	Performing Arts Research Collections - Dance
Request Appointment Not available - Please for assistance.	Part 1	Audio	Permit needed	*MGZMT 3-3033 Part 1	Performing Arts Research Collections - Dance

Details

Additional Authors

Kendall, Elizabeth, 1947-

Description

6 compact discs (approximately six hours and 13 minutes ) : digital; 4 3/4 in. +

Summary

Disc 1, May 7, 2014 (approximately 53 minutes). Judy Kinberg speaks with Elizabeth Kendall about the creation of the Dance in America television series on WNET/13; executive producer Jac Venza's bringing her onto the project as associate producer as well as her production colleagues Emile Ardolino and Merrill Brockway; the preparations they made in order to film dance including the creation of a special floor; (briefly) Ardolino's and Brockway's admiration for dance; the filming of one of the series' first programs, on Twyla Tharp's work Sue's leg, entitled: Sue's leg: remembering the thirties, including some of the technical problems they encountered; filming a program about the City Center Joffrey Ballet [later the Joffrey Ballet and the Joffrey Ballet of Chicago] in Austin, Texas, including flying in Kurt Jooss and Leonide Massine as advisers on their respective works, The green table and Parade; Kinberg's contributions as associate producer and the working principles she and the other producers tried to uphold; an anecdote about Robert Joffrey and the selection of publicity images; training the cameramen to film dance and the moving of the production site to Nashville, Tennessee.
Disc 2, May 7, 2014 (approximately 53 minutes). Judy Kinberg continues to speak with Elizabeth Kendall about the reasons for the move to Nashville, Tennessee, including the selection of the Grand Ole Opry as the site for filming Dance in America; anecdotes about filming the program about Martha Graham including the contributions of Linda Hodes; the rehearsal directors' role in acting as liaison between the production crew and the choreographers; Merrill Brockway's and Emile Ardolino's practice of learning the dances and rehearsing with the cameramen as preparation for filming; (briefly) the series editor Girish Bhargava and the production team's principle of selecting the best example of dancing rather than the best shots; more on providing the appropriate floor surfaces for the various dance forms filmed as well as being able to film only a few takes of dancing at a time; Kinberg's admiration for the dancers and their work ethic; George Balanchine's previous bad experience with filming for television and consequent reluctance to work with her and her colleagues; the program on the Pennsylvania Ballet, which included [Balanchine's ballet] Concerto barocco as a quasi-audition for the benefit of Balanchine; filming the program entitled: Merce Cunningham Dance Company: an event for television, including her memory of Merce Cunningham's being well-versed in filming dance; the program about Dance Theater of Harlem, which included Balanchine's Bugaku; dancers they admired in that program including Lydia Abarca; challenges she faced as the associate producer of two programs being filmed simultaneously, one on Pilobolus Dance Theatre, directed by Brockway, and the second, entitled: Trailblazers of modern dance, directed by Ardolino; her promotion to producer; more on the role of a producer and her professional growth; an anecdote about Lynn Seymour and Trailblazers of modern dance; an anecdote about the Pilobolus collective and finding an orthopedist.
Disc 3, May 9, 2014 (approximately one hour). Judy Kinberg speaks with Elizabeth Kendall about the origins and filming of [the multi-program] Choreography by Balanchine including Merrill Brockway's and Barbara Horgan's respective roles in persuading George Balanchine to film a Dance in America program, and Balanchine's requests to the filmmakers; (briefly) Balanchine's revisions to his ballet Chaconne to accommodate the cameras; the ways in which the choreography and audience perspectives are altered when captured on film as compared with being presented on stage; the selections from the New York City Ballet repertoire Balanchine chose for the program; more on how Balanchine adjusted his choreography for the camera and contributed to the filming and editing processes; various anecdotes and reminiscences about Balanchine during the filming; more on the adjusting of the dances for the camera including choices based on aspect ratios and camera angles; the lighting colors used in filming Balanchine's ballet The four temperaments; (briefly) the working scripts and camera types used as well as a brief overview of the first shoot; the second shoot, in particular, Balanchine's first rehearsal with Mikhail Baryshnikov in The prodigal son; filming the special version of Chaconne as revised for television; Kinberg's promotion to full producer; a list of the ballets included in the program and (briefly) her memories of their filming; anecdotes about the filming of Balanchine's The [steadfast] tin soldier with Patricia McBride and Baryshnikov, and about Karin von Aroldingen and the filming of [Balanchine's] Elégie; (briefly) Balanchine's ballets Tchaikovsky pas de deux and Allegro brillante; the logistics of filming the New York City Ballet in Nashville, Tennessee; an anecdote about Michael Smuin and the project to film the San Francisco Ballet performing his Romeo and Juliet.
Disc 4, May 9, 2014 (approximately one hour and two minutes). Judy Kinberg continues to speak with Elizabeth Kendall about the Dance in America series including filming the hosts of each program; a general overview of filming the San Francisco Ballet in [Michael Smuin's] Romeo and Juliet; (briefly) her role as producer of Out of Our Father's House for the PBS series Theatre in America; (briefly) filming [Paul Taylor's] Esplanade and Runes with Paul Taylor and his company [Paul Taylor Dance Company]; (briefly) working with Eliot Feld and producing a program about the Eliot Feld Ballet [later the Feld Ballet]; Brockway's direction of [Martha Graham's] Clytemnestra; working with Martha Graham; an anecdote about Yuriko Kimura and the filming of Clytemnestra; more on Graham; an anecdote about Jerome Robbins, his interest in filming [Robbins' and Peter Martins' work] Two duets and his suggestion to include Peter Martin's Calcium light night in the program's second half; more on Two duets, including Robbins' insistence that it be shot on film; Kinberg's memories of Natalia Makarova and Mikhail Baryshnikov during the filming of Two duets; having to arrange a new director, Kirk Browning, at the last minute, to direct the shoot of Calcium light night at the Brooklyn Academy of Music; anecdotes about the origins and filming of the program on the Joffrey Ballet's [reconstructions of] Petrouchka, Spectre de la rose, and Afternoon of a fawn, with Rudolf Nureyev in the roles once performed by Vaslaw Nijinsky; Ardolino's personal charm and his work as director with Nureyev; (briefly) filming Petrouchka, danced by the Joffrey Ballet at the Grand Ole Opry; more on Nureyev including an anecdote about his costume for Afternoon of a fawn; in general, the relationships Kinberg developed with the dancers and choreographers during filming; the filming of a live performance by the San Francisco Ballet of [Michael Smuin's] The tempest; (briefly) Merrill Brockway's leaving Dance in America; more on filming The tempest; anecdotes about Balanchine in connection with the filming of The spellbound child [Enfant et les sortilèges] including an anecdote about Balanchine's creation of a solo for Karin von Aroldingen.
Disc 5, May 14, 2014 (approximately one hour and 34 minutes). Judy Kinberg speaks with Elizabeth Kendall about producing (with Emile Ardolino directing) the documentary on Jacques D'Amboise and the National Dance Institute, entitled: He makes me feel like dancin'; the death of George Balanchine; the extensive research behind the making of the documentary entitled: Balanchine, including Holly Brubach's finding of a quotation in Marius Petipa's diary that was used as the film's epigraph; (briefly) filming live performances as compared with filming in a studio setting; filming the Paul Taylor Dance Company's performances of [Paul Taylor's] Big Bertha, Three epitaphs, and Aureole at the American Dance Festival; (briefly) filming the Joffrey Ballet's reconstruction of Kurt Jooss' The green table; an anecdote about Darci Kistler's suffering an injury that prevented her from being filmed in Peter Martins' The magic flute; filming A Choreographer's Notebook at the New York State Theater [later the David H. Koch Theater] during the musicians' strike in 1984; acquisitions of shows and challenges with funding during the 1980s; an anecdote about incorporating Jim Henson's muppets Miss Piggie and Kermit in the San Francisco Ballet's performance of the ballet Cinderella; filming Dance Theater of Harlem's performance of A streetcar named Desire in Denmark; negotiating with Jerome Robbins on the using of his ballets Fancy free, Antique epigraphs, and In memory of, in the program Choreography by Jerome Robbins; persuading Robbins to record an interview for the program and more on Kinberg's relationship with him; examples of working with Robbins.
Disc 6, May 14, 2014 (approximately 53 minutes). Judy Kinberg speaks with Elizabeth Kendall about her creating of the Dance in America program entitled: Agnes:The indomitable De Mille, based on Agnes de Mille's autobiography [Dance to the piper, 1952], with the assistance of Holly Brubach as writer; filming Paul Taylor's Roses and Last look in Denmark with director Thomas Grimm; working with Brubach on interstitial material for the program on Taylor and filming Taylor at his Long Island home; her first directing experiences, with short segments within longer programs; (briefly) the origins of the program entitled: Balanchine and Cunningham: an evening at American Ballet Theatre; Susan Jaffe's suffering an injury during the filming of the program: Baryshnikov dances Balanchine, and how the casting had to be quickly adjusted with substitute dancers Leslie Brown and Christine Dunham; (briefly) filming the live performance of the ballet La sylphide performed by the Pennsylvania Ballet and Milwaukee Ballet; filming the Joffrey Ballet for the programs Night at the Joffrey and [The search for Nijinsky's] Rite of spring; the interstitial material for Night at the Joffrey, interviews with the choreographers Frederick Ashton, William Forsythe and Gerald Arpino; an anecdote about an interview with Frederick Ashton shortly before his death; more on the Joffrey Ballet's reconstruction of Rite of spring; (briefly) interviewing Maude Lloyd for material to be aired during the intermission in the program entitled: A Tudor Evening; why she felt it was important to include [Balanchine's] Serenade in the Balanchine in America program; (briefly) filming the program entitled: Ballerinas: Dances by Peter Martins in Denmark; meeting Mathew Diamond and asking him to direct the filming of Paul Taylor's Speaking in tongues; an anecdote about Taylor's first meeting with Diamond; her last visit with Ardolino shortly before his death.

Alternative Title

Dance Oral History Project.

Subjects

Genre/Form

Interviews.
Oral histories.
Sound recordings.

Note

Interview with Judy Kinberg conducted by Elizabeth Kendall on May 7, 9, and 14, 2014 at The New York Public Library for the Performing Arts in New York City as part of the Jerome Robbins Dance Division's Oral History Project.
For transcript see: *MGZMT 3-3033.
Title supplied by cataloger.

Access (note)

Permission required.
Transcripts may not be photographed or reproduced without permission.

Funding (note)

This interview was made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The support of the National Endowment for the Arts is also gratefully acknowledged.

Call Number

*MGZTL 4-3033

OCLC

910936641

Author

Kinberg, Judy, interviewee.

Title

Interview with Judy Kinberg. May 7, 9, and 14, 2014.

Production

2014

Type of Content

text

spoken word

Type of Medium

unmediated

audio

Type of Carrier

audio disc

volume

Access

Permission required.

Event

Recorded for The New York Public Library for the Performing Arts by Elizabeth Kendall 2014, May 7, 9, and 14 New York, N.Y.

Funding

This interview was made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The support of the National Endowment for the Arts is also gratefully acknowledged.

Restricted Access

Transcripts may not be photographed or reproduced without permission.

Added Author

Kendall, Elizabeth, 1947- interviewer.

Research Call Number

*MGZTL 4-3033

*MGZMT 3-3033

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