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Notes Complete data are given for items that are used only for a specific, apposite remark, but are not otherwise relevant to the subject of this book. Articles quoted from anthologies arc also detailed here. All other citations are fully documented in the bibliography. The following abbreviations are used: BJA British Journal of Aesthetics BR Ballet Review DP Dance Perspectives JAAC Journal of Aesthetics and Art Criticism Preface vii. Rosenberg, quoted in "Harold Rosenberg," The New Yorker, 24 July 1978, p. 80. Chapter i The Problems o/Swan Lake passim. Information on the early productions of Swan Lake, contained in various passages throughout this chapter, is taken from the books and articles by Beaumont, Chujoy, Krasovskaya, Petipa, Slonimsky, and Wiley. For recent productions, I have drawn on my own experience and from clipping files in the Dance Collection of The New York Public Library. 169 iyo / Notes to pages 7—46 7-8. Ashton and Balanchine in Pctipa, pp. 275, 288. 10. Dufrenne. "Can we not," p. 24; "A good rendition," p. n; "a certain atmosphere," p. 16. 12. Goodman, Languages, pp. 116-18. 12. Farrell, quoted in Daniel, pp. 13-14; Ashton in Petipa, p. 275. 13. Laing, quoted in Selma Jeanne Cohen, "Antony Tudor," DP 18 (1963): 76; Bell, p. 185. Chapter 2 Actions and Passions, Airs and Graces 21. Kaeppler, p. 5. 21. Opinions cited in McGrath, p. 82; Ellis, p. 65; Reynolds, p. 124. 22. Opinions cited in Kristeller, passim. 23. Aristotle, Poetics 14473. 23. Beaujoyeulx, "Ballet Comique de la Reine," in Cohen, Theatre Art, p. 19. Davies, stanzas 23, 26, 29. 24. Weaver, pp. 160-61. 25. Noverre, "Two Letters on Dancing," in Cohen, Theatre Art, p. 62. 25. Gautier, p. 17. 26. Levinson, "The Spirit of the Classic Dance," in Cohen, Theatre Art, p. 113; Childs, untitled contribution in Livet, p. 63; Smith, p. 247; anonymous critic, Spirit of the Times (New York), 18 September 1848. 26. Martin, untitled contribution in Armitage, p. 8. 27. Munro, Arts, p. 499. Valery, Degas, passim. 29. Denby, Dancers, p. 175; Straus, p. 23. 29. Beardsley, quoted in Noel Carroll, "Post-Modern Dance and Expression ," in Fancher and Myers, p. 95. 32. Krasovskaya, "Marius Petipa," p. 24; Fokine, "The New Ballet," in Cohen, Theatre Art, p. 103. 33. Graham, "A Modern Dancer's Primer for Action," in Rogers, p. 178. 34. Brown, "On Chance," p. 17. 34. Rainer, p. 66;Jakobson, "Linguistics and Poetics," in de George, p. 120. 37. Karsavina, p. 85. 37. The reviews from Novae Vremya and Novosti are cited Wiley, n.p.; the review from Russkaya Musikalnaya Gazeta is in Krasovskaya, Russkii Baletnye Teatr, p. 379. 39. Smith, pp. 239-42. Chapter j The Girdle of Venus 45. Iliad 14, 190-220; Apuleius, i, 405. 45-46. Aenead i, 314-405. The graces are discussed in Gombrich, "Botticelli 's Mythologies" and in Panovsky, Studies. 46. Duncan, Life, p. 84. Notes to pages 47-87 I 171 47. Shaftesbury, i: 190; Montesquieu, p. 849. 48. Schiller, pp. 185-86; von Kleist, "Puppet Theatre," in de Zoete, pp. 70-71. 48. Knight, pp. 211-12; Reid, i: 507. 49. Blasis, The Art of Dancing, trans, by R. Barton (London: Edward Bull, 1831), p. 52. 50. Schopenhauer, selection from "The World as Will and Idea," trans, by R. B. Haldane and J. Kemp, in Hofstadter and Kuhns, p. 478; Sartre, p. 376. 51. Hogarth, p. 152; Spencer, p. in; Hogarth, p. 159. 52. Knight, p. 212. 52. Cage, pp. 91-92; Bayer, 2: 269, 294. 53. Alison, p. 437, 38. 55. Cunningham interviewed by Maggie Lewis, Christian Science Monitor, 10 May 1979, p. 20. 57. Quoted in Krasovskaya, Russkii Baletnye Teatr, p. 391; Karsavina, p. 181. Chapter 4 The Achieve of, the Mastery of the Thing! 63. Steele, The Spectator, no. 466 (1712). 64-65. Eliot, "The Ballet," p. 442. 65. Lowe, p. 99; Straus, p. 23. 66. Arnheim, "Stricture," p. 645. 66. Danto, p. 142; Best, "Aesthetic of Sport," p. 212. 67. Reid, pp. 255,258. 68. Jowitt, Village Voice, n September 1978. 68. Mark, "Works of Virtuosity," p. 42. 70. Adams and Taylor interviewed by Jennifer Dunning, New York Times, 26 April 1981. 71. Banes, p. 211. 71. Siegel, Watching, p. 133; Croce, p. 425; Bullough, p. 104. 76-77. Volynsky, pp. 47-48; Valery, "Eupalinos, or The Architect," in Dialogues, p. 68. Chapter 5 What Does the "Dance of the Sugar Plum Fairy" Mean? 83-84. The version of the "Dance of the Sugar...


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