Directing the Dance Legacy of Doris Humphrey: The Creative Impulse of Reconstruction

Bibliography

169 Archive Doris Humphrey Collection. Jerome Robbins Dance Division in the Library for the Performing Arts, at the New York Public Library. Folders C278–79, C300, C398, C442–43, C447, C466, C549, C648, M12–30, M65, M73–76, M109, M150, Z13–20, program notes from 1937. Sources Anderson, Jack. 1987. Choreography Observed. Iowa City: University of Iowa Press. Andrews, Edward D. 1953. The People Called Shakers. New York: Oxford University Press. — — —. 1967. The Gift to Be Simple: Songs, Dances and Rituals of the American Shakers. New York: Dover. First published 1940. Archer, Kenneth, and Millicent Hodson. 1998. “Seven Days from the Dervishes Diary.” Dance Theatre Journal 14, no. 2: 35–43. — — —. 2000. “Confronting Oblivion: Keynote Address and Lecture Demonstration on Reconstructing Ballets.” In Jordan, Preservation Politics, 1–20. Becker, Svea. 1984. “From Humphrey to Limón: A Modern Tradition.” Dance Notation Journal 2, no. 1: 37–52. Becker, Svea, and Joenine Roberts. 1983. “A Reaffirmation of the Humphrey– Weidman Quality.” Dance Notation Journal 1, no. 1: 3–17. Beckett, Samuel. 1984. Collected Shorter Plays of Samuel Beckett. London: Faber and Faber. Benedetti, Robert. 1985. The Director at Work. Englewood Cliffs: Prentice Hall. Bennett, Susan. 1990. Theatre Audiences: A Theory of Production and Reception. London: Routledge . — — —. 1996. Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London: Routledge. Berg, Shelley C. 1993. “The Real Thing: Authenticity and Dance at the Approach of the Millennium.” In Palfy, Dance Reconstructed, 109–18. — — —. 1999. “The Sense of the Past: Historiography and Dance.” In Researching Dance: Evolving Modes of Inquiry, edited by Sondra Horton Fraleigh and Penelope Hanstein, 225–48. London: Dance Books. Berry, Ralph. 1989. On Directing Shakespeare. London: Hamish Hamilton. Bibliography 170 Bibliography Billington, Michael. 1994a. “Foot and Mouth Disease.” Guardian, March 16. — — —. 1994b. “Foot-fault.” Guardian, March 22. — — —. 1995. “A Prince Too Far.” Guardian, April 18. Bloch, Alice. 1993. “Assessing History through the Dancing Body.” In Palfy, Dance Reconstructed , 53–64. Bookis Hofmeister, Eleni. 1993. “Balanchine and Humphrey: Comparing ‘Serenade’ and ‘Passacaglia.’” Choreography and Dance 3, no. 3: 13–30. Boucher, David, ed. 1994. The Life and Thought of R. G. Collingwood. Collingwood Studies 1. Swansea, Wales: R. G. Collingwood Society. Brook, Peter. 1968. The Empty Space. London: Penguin. — — —. 1993. There Are No Secrets: Thoughts on Acting and Theatre. London: Methuen. Brown, Tom. 1993. “Documenting and Retrieving Nijinska’s ‘Les Noces.’” In Palfy, Dance Reconstructed, 27–40. Bucek, Loren, and Ann Dils. 1996. Introduction to “Humphrey Centennial Edition.” Special issue, Dance Research Journal 28, no. 2: 1–3. Bunting, Madeleine, and Angella Johnson. 1994. “Exit for Life the Director Who Dared to Play with Beckett.” Guardian, March 19. Burt, Ramsay. 1995. “Humphrey, Modernism and Postmodernism.” Dance Theatre Journal 12, no. 2: 10–13. — — —. 1998a. Alien Bodies: Representation of Modernity, “Race” and Nation in Early Modern Dance. London: Routledge. — — —. 1998b. “Re-presentations of Re-presentations.” Dance Theatre Journal 14, no. 2: 30–33. — — —. 2000. “Reconstructing the Disturbing New Spaces of Modernity: The Ballet Skating Rink.” In Jordan, Preservation Politics, 21–30. Butcher, Pat. 1994. “Play It Again Sam.” Guardian, October 4. Butler, Robert. 1996a. “Beckett Rescued from His Admirers.” Independent, April 21. — — —. 1996b. “Shakespeare and Company.” Independent, March 31. Calder, John. 1994. “Overstepping the Beckett Mark: Letter.” Guardian, March 29. Carter, Alexandra. 1998a. “The Case for Preservation.” Dance Theatre Journal 14, no. 2: 26–29. — — —, ed. 1998b. The Routledge Dance Studies Reader. London: Routledge. Charest, Rémy. 1998. Robert Lepage: Connecting Flights. New York: Theatre Communications Group. Cohen, Selma Jeanne. 1969. The Modern Dance: Seven Statements of Belief, Middletown, CT: Wesleyan University Press. — — —. 1982. Next Week, Swan Lake: Reflections on Dance and Dancing. Middletown, CT: Wesleyan University Press. — — —. 1995a. Doris Humphrey: An Artist First. An Autobiography. Middletown, CT: Wesleyan University Press. First published 1972. — — —. 1995b. “Doris Humphrey: Moving from the Inside Out.” Dance Theatre Journal 12, no. 2: 14–15. Cole, Susan L. 1992. Directors in Rehearsal. London: Routledge. Collingwood, Robin G. 1938. The Principles of Art. Oxford: Clarendon Press. — — —. 1993. The Idea of History. Oxford: Oxford University Press. First published 1946. Conlan, Tara. 1996. “Endgame.” Stage and Television Today, April 25. Cook, Ray. 1977. The Dance Director. New York: Dance Notation Bureau. Bibliography 171 — — —. 1998. “Filling in the Gaps: Dawn in New York—Fantasy and Fugue.” Choreography and Dance 4, pt. 4: 75–92. Cooper Albright, Ann. 1993. “The Long Afternoon of a Faun: Reconstruction and the Discourses of Desire.” In Palfy, Dance Reconstructed, 219–22. Coveney, Michael. 1994...